COUNCI L 'Sir Ernest Pooley, K .C,V.O ., LL .D . (Chairman) *Dr. B. Ifor Evans, M.A., D.LITT. (Vice-Chairman) The Countess of Albemarle *Sir Bronson Albery Richard Capell, O .B.E., M.M. John Carte r *Sir Kenneth Clark, K .G.B. *Joseph Compton, M .A. *Edric Cundell, C .B.E . Mrs . Hugh Dalton, L.C .C. The Viscount Esher, M .B.E. Sir Cecil Graves, K .C.M .G., M.C . Wyn Griffith, O.B.E. George T. McGlashan, C .B.E. SCOTTISH COMMITTEE George T, McGlashan, C .B.E. (Chairman) Ian Finlay Sir Cecil Graves, K .C.M .G ., M .C . J. A . Henderson The Rev . George F, MacLeod, M.C . J. McNaught Hugh Marshall Miss Isobel Sinclair E. K. Waterhouse, M .B.E. William Wilson WELSH COMMITTE E Wyn Griffith, O .B.E . (Chairman) P. H. Burton Sir William Llewellyn Davies Mrs. Irene Edward s C. E . Gittins John Hughes Professor Gwyn Jones Dewi Llwyd Jones Morgan Nicholas D . H . 1. Powell Miss Frances Rees Dr. W . J. Williams, Hon . LL .D. ART PANE L Sir Kenneth Clark, K .C .B. (Chairman ) Sir Colin Anderson Sir Leigh Ashton Oliver Brown Prof. William Coldstream Trenchard Cox Sir Philip Hend Mrs . Cadet Keir Lynton Lamb Henry Moore Rodrigo Moynihan Ernest Musgrave Herbert Read, D.S .O., John Rothenstein, C.B.E. Gordon Russell, C .B.E., M.C. M.C . E. K. Waterhouse, M .B .E. Care[ Weight Mrs. Somerville DRAMA PANE L Sir Bronson Albery (Chairman) Miss Peggy Ashcroft, C.B.E. Leslie Banks, C.B.E. Noel Coward John Gielgud Tyrone Guthri e Andrt Van Gyseghe m E. A . Harding Patrick Henderson Norman Higgins, M .B.E . Hugh Hunt Ronald Jeans Benn Lev y Michael MacOwan Sir Laurence Olivie r Sir Ralph Richardso n Ronald Russell Derek Salherg Stephen Thomas MUSIC PANE L Edric Cundell, C.B.E . (Chairman ) Lennox Berkeley Harold Craxton Alan Frank Ambrose Gauntlet t Philip Godlee Frank Howe s Miss Mary lbberso n Prof. Anthony Lewis Clarence Raybould Dr . Edmund Rubbra Sir Malcolm Sargen t Dr. Percy Scholes Dr. R. S . Thatcher , Dr. Sydney Watso n Miss Seymour Whinyates O.B.E ., M.C. POETRY PANE L Joseph Compton, M .A. (Chairman) Richard Churc h Sir George Rostrevor Christopher Hassall John Lehman n Hamilton Cecil Day Lewis, C.B .E. L. A . G . Strong *Member of Executive Cnmmirte e

r-r?ci.-+ i v C- co py

THE ARTS COUNCIL OF GREAT BRITAI N

SIXTH ANNUAL REPORT 1950-5 1

IN X TS COUt,)-IL OF GREAT BRITA RY T1 )N L18RA A~;v~ _ ~AC`YVy-i~._SCA

4 ST . JAMES'S SQUARE LONDON, S .W.1

CONTENTS

ENGLAND AND WALES Page I THE FESTIVAL OF BRITAIN 4 II NOTES OF THE YEAR 1 1 III MUSIC 20 IV ART 23 V DRAMA 25 VI OPERA AND BALLET . 27 VII SOME REFLECTIONS ON POLICY 29 APPENDIX A The Arts Council of Great Britain : Audited Accounts 36 APPENDIX B List of grants and guarantees paid by the Arts Council o f Great Britain during the year ended March 31st, 1951 46 APPENDIX C The Theatre Royal, Bristol : Audited Accounts 48 APPENDIX D Exhibitions held during the period April, 1950-March, 1951 52 APPENDIX E List of Associated Organisations (April, 1950-March, 1951 ) and List of Associated Festivals (May-September, 1951) 54

SCOTLAND REPORT OF THE COUNCIL'S COMMITTEE IN SCOTLAND 58 APPENDIX I Audited Accounts 70 APPENDIX II Concerts by the Scottish Orchestra 74 APPENDIX III Associated Theatre Companies in Scotland 74 APPENDIX IV Exhibitions 74 APPENDIX V Associated Arts Societies 74

ILLUSTRATIONS

PREFAC E

By the Chairman of the Arts Council

SIR ERNEST POOLEY, K.C.v.o., LL.D.

The year on which our Annual Reports are based ends on March 31st. But 1951 has been a unique year, a year of so much achievement in the arts that we hav e extended our chronicle to cover the many festivals and special occasions which have occurred between Ma y and September. The Arts Council accepted the respon- sibility of celebrating the Festival year in a nationa l projection of the fine arts and, as the following pages relate, it did so to some purpose. It has been my privilege to visit many of the Arts Festivals, large an d small, promoted by partnerships between local bodie s and the Arts Council, and I have found the experience an exhilarating one . Dangers and anxieties continue to beset Great Britain, yet, in this year ofso many shadows , there has been more good art and music to be seen an d heard in this country than ever before . The public has shown, in its hundreds of thousands, that it has a kee n and growing appetite for the serious pleasures, and we must hope for an increasing recognition of that fact by Parliament and Local Authorities, in whom is no w invested the major responsibility for the patronage o f the arts.

Calv Lames ~ I . THE FESTIVAL OF BRITAI N

HE period covered in the Annual Report usually coincide s with the financial year of the Arts Council, which ends on March 31st. On this occasion, however, the survey is extended in order to include some account of the Council's activities during the Festival of Britain . If a Report on th e Festival were held up by calendar considerations it woul d Tbe of little interest a year from now . In December, 1947, the Arts Council was asked by the Chancellor of th e Exchequer to consider how the Centenary of the Great Exhibition of 1851 might best be celebrated, and whether or not a national Festival of the Arts would be practicable. In the course of time, a decision to hold a Festival in 1951 was taken in the House of Commons and, in April, 1948, a Festival of Britain Office and Directorate was set up . The Arts Council was invited to work closely with the new office, and was itself charged b y the Chancellor of the Exchequer with the full responsibility for ensurin g that the arts were appropriately represented in the programme of th e Festival of Britain. This was a sizeable assignment . The Arts Council immediately addressed itself to the task of decidin g how best to deploy the country's resources in music, drama and the fine arts within the structure of the Festival, and examined numerous method s of doing so. Its final policy-decisions on scope and procedure were accepted by the Festival of Britain Council in July, 1948 . These decisions fell into a three-fold pattern : to promote a London Season of the Arts i n May and June, 1951 ; to foster arts festivals at 22 centres in England, Scotland and Wales ;* and to stimulate wherever possible the local effor t and the special occasion in artistic endeavour . It was clear that these policies would need money for their fulfilment , and £400,000 was allocated by H .M. Treasury. It was considered (rightly, as it transpired) that the Council could undertake these extra tasks withou t any fundamental change in its normal method of operation. This implie d that the Council would work wherever possible through and with estab- lished organisations, and would offer grants and guarantees against loss o n agreed schemes rather than undertake direct management off its own bat. In practice, then, the Festival of Britain involved an extension and not a * See Appendix E . 4 revolution in the Council's customary work, and the £400,000 was simpl y an addition, for one season only, to the Council's annual Treasury grants . The most formidable single enterprise was the creation of a Londo n The Londo n Season of the Arts. The Council's aim was to encourage such a concen- Season of the Arts tration of concerts, plays and exhibitions in London during the first eigh t weeks of the Festival as would display the genius of the nation in the main creative arts. In music this aim was notably achieved. The London County Council Music in agreed to give the Arts Council a tenancy of the new Royal Festiva l Londo n Hall from May 10th to June 30th . The managements of the Royal Albert Hall and other concert halls were well-disposed. Accordingly the Council decided to invite the leading orchestras, impresarios, concert societies, choirs, and national musical organisations of the country to arrang e performances during the May/June Season in London . This involved th e Council, at a stroke, in negotiations with many hundreds of organisation s and persons . The programmes were planned, as a whole, in such a way as to avoi d clashes and, what was more important, in such a way as to ensure that our own composers and our own musical habits and traditions were al l substantially represented. This involved considerable tasks of co-ordina- tion and a scrutiny of many-and sometimes irreconcilable-proposals b y panels and committees. One gap in the over-all programme had to b e made good by the Council itself. The B.B.C. had agreed to arrange a series of concerts of English Song, but it was felt that the occasion als o called for a series of concerts of Henry Purcell's music, and a further series devoted to other English composers from 1300 to 1750. The Counci l consequently undertook these two series as a matter of direct management . It is interesting to note that, apart from the three special series, th e chamber music and the solo items, nearly 200 orchestral and choral works by British composers were performed during the London Season . The music plans as a whole were virtually completed by Christmas, 1950 . The eight-week Season set out to represent the entire British musica l tradition, from symphony concerts to brass bands, from . concerts fo r children to organ recitals, and from chamber music to massed choirs . Nearly 300 concerts were arranged, and there was some apprehension that too much was being attempted . In the event, the concert season as a whole was successful beyond expectation . The decision to invite only Britis h orchestras proved to be a wise one, and the performances given by th e orchestras of the country in the Royal Festival Hall were worthy of the

i

vision and courage which brought the Hall into being . Average attendances at orchestral concerts in the Royal Festival Hall during the Arts Council' s tenure were around 85 per cent of capacity. The choral tradition, possibl y the most important element in the musical inheritance of the country, wa s well revealed. Choirs, large and small, from London, and from Wales , Scotland and the North gave a good account of British choral music; but the business of transporting huge massed choirs to London meant a n insufficient time for final rehearsal, and some of these concerts, althoug h well attended, fell short of the choral standards which might have bee n expected. The opera seasons, arranged in consultation with the Council, at Coven t Garden, Sadler's Wells and Glyndebourne, showed the three opera house s at their best. The Britten Season at the Lyric, Hammersmith, despite th e great personal prestige of the composer was not, financially, the succes s which had been hoped for . There was no diminution in the prestige or popularity of the national ballet . Festival Plays In the theatre, the problem of whether or not theatres and actors woul d in z.ond" be free during the appointed Season, and the more complex pattern o f theatre ownership and management, led the Council to conclude that a n attempt to arrange a comprehensive drama programme similar to th e music programme was not practicable . Accordingly, established theatre companies in London were invited to submit plans and suggestions, and money was earmarked for grants and guarantees to schemes which seeme d attractive. It was hoped to encourage festival performances of the classics and important productions of contemporary work . The Council also urged theatre managements to ensure that the celebrities of the Britis h stage were in the theatres of London during the Festival, and not on Broadway or on location. This policy enjoyed a mixed success. Of the plays presented for the London Season in some form of association with the Council most were successful, but some failed . The Old Vic's Festiva l production of The Merry Wives of Windsor ; the Oliviers' Season at the St. James's Theatre ; Fry's A Sleep of Prisoners ; the three Tennent pro- ductions : The Three Sisters, The Winter's Tale and Waters of the Moon ; Associated Artists' production of Man and Superman ; and A Midsummer Night's Dream at Regents Park all proved successful. Hassan and The Thistle and the Rose both failed, and Hamlet had a curiously mixed recep- tion from public and critics alike . The London Season in the theatre revealed beyond dispute the immense capacities of our leading actors and actresses, and it was appropriate that Shakespeare and Shaw particularl y 6

should receive such devoted and adroit production . On the other hand it was disappointing that so few contemporary plays of merit emerged fo r the occasion . _ The national collections of painting and sculpture were all, of course, on Art view during the London Season . As always, in this field, the Council Exhibitions in Londo n could not look to other organisations to make up special exhibitions, and most of the important art exhibitions created expressly for the Festiva l period were in fact mounted under the direct management of the Council . Henry Moore and Hogarth shown at the Tate Gallery, the two anthologie s of British Painting 1925/50, the temperas of William Blake, and th e `60 Paintings for'5F exhibition were, in terms of popularity, and probabl y in terms of significance as well, the most important of the Council's eleve n London Exhibitions . In particular the Moore exhibition made a grea t impact and was, perhaps, an overdue recognition in his own country of a n artist of world-wide fame. The L.C.C.'s Sculpture Exhibition in Batterse a Park must be noted, as must also be the extent to which the art societies and (not least) the dealers co-operated with the Council in devising exhibi- tions which focused attention on the painters and sculptors of this country. It can truly be claimed for the London Season of the Arts that the hig h reputation of our producers, actors and actresses was enhanced ; that the galleries and the national collections were seen in their glory ; and that London's bid to be recognised as the musical.centre of the world was made more confidently than ever before . The 22 principal Arts Festivals throughout the country with which the Regional Council was associated,* and the hundreds of special occasions, minor Festivals festivals, concerts, operas, exhibitions and plays up and down the land , which gained assistance from the Council, disclosed the same pattern as th e London Season, but on a more limited, a more regional canvas . It is pleasant to record that many of the most successful Festival celebrations were also the ones of modest scope and intimate character-such as those at King's Lynn and Hovingham . A general stock-taking is not easy, for the Festival is still in progress while these comments are being written . The quality and vigour of most of the established festivals is long proven - Edinburgh, the National and International Eisteddfodau, Stratford-upon- Avon, Cheltenham, Aldeburgh, to mention a few . They show very differen t * See Appendix E . 7 facets of the artistic life of the country and, very properly, enjoy a n international reputation. The new festivals especially created for 195 1 might not have expected to be so successful . But, in fact, there is no doub t that they not only played a vital part in the Festival of Britain but wer e significant in their own right. York, for example, became for a fortnigh t a centre of intense brilliance which cannot be without a continuing effec t on the cultural life of Yorkshire and the North generally . The magnificent clamour of Northern choirs singing with the great orchestras in the Minster, the performance of the York Mystery Plays, the exhibition of paintings from Yorkshire Houses, the beautifully refurbished Assembl y Rooms, the concerts of chamber music, all took place in a city swept an d garnished for a momentous occasion . Working to somewhat different ends, and drawing upon different sources, the same was true of Norwic h and of Liverpool . The new festivals in Scotland, and the St . Davids Festival in Wales, were on a more intimate scale, and, once more, ver y different from each other, embodying varying traditions, playing to widel y differing audiences. The centres which were invited to prepare Arts Festivals had been carefully chosen by the Arts Council and, with one o r two exceptions, as it proved, well chosen . Their programmes were well planned and well assorted, and it would not be easy to name any form o f activity in the arts habitual to this country which did not find expression i n one or other of the festivals. It can also be said that, against man y expectations, the Festival Centres succeeded in promoting a spirit o f joyousness and public gaiety which does not readily flourish in British cities and towns . The powers of municipality were tactfully employed . In nearly all the new centres (as in the case of established festivals), the Council urged the creation of independent festival societies which could draw upon public and private enthusiasm and capacities, as well as upon the powers o f corporations and statutory bodies . About one-quarter of the Council' s extra Treasury grant for 1951 went, by way of guarantees and grants, t o provincial arts festivals ; and the whole operation is a notable illustration o f the Council's preference for working through, and with, establishe d independent organisations wherever possible . The festivals, as a whole, also illustrated the extent to which wise administration by Festival Societies can release the forces of local effort and initiative . Some idea of the magnitude of this operation, seen together with th e Council's continuing work, may be derived from the map of Great Britain on page 75 with its list of places where Arts Council activities have oc- curred during May to September, 1951 .

It is still early to hazard an opinion upon the lasting values, if any, of the The Permanen t London Season, the Arts Festivals, and the many local celebrations . It was Consequences in the nature of the whole concept of the Festival of Britain for much of i t to be ephemeral, and there were many events which could claim their onl y justification in their own immediate being . A festival proclaimed and projected on a national scale could not afford to be niggardly in the sens e of limiting all its expenditure to calculated investment . The Arts Council decided, however (and, in so doing, adopted a polic y, which was shared by the Festival organisation as a whole), that some measurable permanen t effect was desirable . The Royal Festival Hall in London is probably the Buildings most substantial gift to the arts which remains as a permanent consequenc e of 1951 . Several other cities, notably York, Liverpool, Norwich, King's Lynn, Inverness and Stratford, showed much imagination in seizing th e opportunity offered in 1951 to renovate and put to new uses buildings o f great beauty. Many provincial museums and galleries were cleaned an d painted, some were refurnished, but there was little sign of any resolute decision to remove the trash that has accumulated over the ages in so many of them. The Arts Council's main contribution to permanent consequences lay in Commissioned its commissioning plans . The Council undertook several such schemes, Works and urged festival centres, municipalities and organisations of all kinds t o place their own independent commissions, if only as permanent reminder s of the Festival. (Not many of them, unfortunately, acted upon this sug- gestion.) The Council's own schemes included two operas commissione d for the Covent Garden and Carl Rosa Opera Companies, and a .competitive scheme for commissioning operas from which five new works emerge d to be absorbed in due course, it is to be hoped, into the general repertory. Dr. Vaughan Williams's The Pilgrim's Progress, upon which the composer had been working for many years, was produced at Coven t Garden during the London Season . The Council placed three ballet commissions for works which have now gone into the repertories of th e Sadler's Wells Ballet, the Sadler's Wells Theatre Ballet and the Ramber t Ballet. A poetry competition drew entries from nearly 2,000 poets, and the work of the winners has been published as a Penguin . Poetry competitions in Scots, Gaelic and Welsh were also arranged by the Council's Scottis h and Welsh Committees . Twelve sculpture commissions were placed, three of which were shown at the South Bank Exhibition, and 60 painters were invited to paint large canvases. The paintings, when exhibited in Manchester and London, aroused much interest and comment . The 9

Council itself bought eight of the paintings ; a further six being bought by other organisations. Six composers, on the Council's invitation, wrote new works for the Festival, and five further commissions were placed b y the Council's Welsh Committee . These works were all performed durin g the Festival. There is some reason for hoping that among these commissions ar e works which will survive. But, as with the multitudinous activities of the London Season and the Festival events throughout the country, it will b e some time before permanent values can be assessed . Meanwhile, many artistic enterprises have benefited, for the time being, by the additiona l money the Council was able to give them in 1951 . There are several new productions in the repertory of our national opera and ballet that owe thei r existence to this aid ; the costumes and decor in many theatres have been newly provided from the same source. By-products of The Festival had two notable by-products . The first was the invaluable the Festival experience and information about the artistic resources of the country as a whole which was gained by the Arts Council . The Council's Festival file s now include much of the raw material for compiling a Domesday Book o f British artistic endeavour, and consequently, if its funds increase, the Counci l may be able to aid the further development of local initiative . Secondly, the press and public alike vigorously supported the Festivals and th e London Season; the amount of space and comment devoted to music, drama and the fine arts in the national and foreign press was ver y gratifying. The Festival of Britain as a whole was largely based on th e proposition that the artist plays an important part in the life of th e country, and it is to be hoped that the increased attention evoked by th e arts during 1951 will not be allowed to diminish . That is not to say that Festivals of the Arts should be an annual event, for a policy of saturatio n would soon defeat its own ends . But the Festivals have, in many places , stimulated interests which deserve further nourishment on a less ambitious scale. In all its guidance and aid to the bodies which made special effort s for 1951 the Council was careful to avoid raising any false hopes of future assistance. Yet those hopes have undoubtedly taken root already among many local societies which want to maintain and expand the new interest in the arts that the Festival year disclosed . There may well be a sense of discouragement among these societies when they realise in 1952 that th e Arts Council's narrow budget for a normal year cannot further sustain the initiative and diligence of so much local effort . If the Festival ha s roused great expectations it should be somebody's business to press for 10 their realisation, especially as most of the claimants for further aid hav e shown such readiness to bear their own share of the cost of disseminating the arts among the people of Britain .

II . NOTES OF THE YEAR In subsequent pages of this Report will be found summaries of the wor k accomplished during the year by the Council's various Departments - outside the scope of the Festivals. There are, however, several matters of a general kind which deserve some brief comment, in so far as they bea r directly or obliquely upon the policy and organisation of the Council . Representatives of the Arts Council were invited by the London County The Londo n Council to share in discussions of post-Festival plans for orchestral music Philharmoni c in the Royal Festival Hall . The substance of the advice tendered by the Orchestra Council was that any scheme adopted should include, as a priority, the maintenance of a permanent orchestra . The London County Council , however, decided against this recommendation, and has announced th e withdrawal of the grant it had made to the London Philharmonic Orchestra for several years. This decision has placed the London Philharmoni c Orchestra in a hazardous position, for in order to qualify for Arts Counci l support it must maintain its permanent status . Various efforts are being pursued to make good the loss of the London County Council subsidy, bu t the precarious state of this orchestra's fortunes underlines the difficul t situation which faces most of our leading orchestras to-day . Another milestone in the eventful history of the Old Vic was reached The Old Vic on November 14th, 1950, when the original home of the theatre, gutte d in the war, was reopened with appropriate and dramatic ceremony. During the year a fundamental conflict of policy among the five leadin g officials of the Old Vic roused a bout of acute public controversy . The crux of the issue was to what extent the organisation was to give precedenc e to the `Theatre Studio' principle and to the Old Vic School . After a series of resignations and manifestos, the Governors invited Mr . Tyrone Guthrie to assume the over-all direction of the Old Vic, with Mr . Hugh Hunt a s Administrative Director. Shortly after these appointments were announce d the Governors, after consultation with the Arts Council, issued a state- ment of policy which set out their future objectives, of which the main one s are : to run two companies of equal status which will, turn and turn about , take productions on tour after their seasons at the Old Vic ; to work for further provincial affiliations of the pattern of the Bristol Old Vic ; to 11

discontinue the Young Vic ; and to seek other auspices for the Old Vi c School. The Old Vic thus declares its intention of abandoning the Studi o Theatre principle and of concentrating upon productions shared between London and the provinces . More Pictures In its policy of circulating exhibitions of original pictures the Arts Council still enjoys the patient generosity of many private owners who allow their pictures to leave home for weeks and often months at a time . But there is evidently a limit to this kind of goodwill ; while, on the other hand, the appetite for good pictures increases at the consumers' end. In its endeavours to cope with this double problem the Council has for som e years been building up, in a modest way, a collection of its own, bough t from dealers and artists as opportunity affords . The special occasion of Festival Year was taken to spend more than usual on these purchases, an d the Council now owns a total of over 200 works by representative con - temporary painters, not counting a further 450 prints . This substantial addition to the pool is enabling the Council to keep up with the extensiv e demand for exhibitions . Its collection, of course, does not include Old Masters, but a recen t `Combined Operation' has enabled it to circulate many pictures for which there is at present no room in the war-damaged National Gallery. So far over 100 pictures have been made available from this source and are no w on exhibition for a two-year period at 13 major provincial galleries . It is hoped that this valuable scheme will be extended and reinforced . A Guest Although the art gallery shortage in London has been eased by th e Gallery Council's acquisition of the New Burlington, there is still no gallery avail- able for important visiting exhibitions-such as Paris has in its Peti t Palais or L'Orangerie . To find room for such special events as the Munic h or Vienna exhibitions, the van Gogh, the Rembrandt, or the William and Mary, we have to exploit the hospitality of the Tate or the Nationa l Gallery, and they, in turn, have to dismantle parts of their permanen t collection to make room for the visiting celebrities. Some of the buildings on the South Bank-such as the Lion and the Unicorn-would suit our need exactly, but we are not the only claimants for the reversion of thes e delightful and suitable Festival properties . Arts Councils We welcome measures taken recently in the U .S.A. and Canada towards Abroad the establishment of bodies similar to the Arts Council . In April a resolu- tion was introduced to Congress calling for the establishment of a Nationa l Art Commission, in terms which bear a welcome resemblance to those o f our own Royal Charter `to encourage the growth and development of the 12 fine arts throughout the United States . . . to increase the accessibility of the fine arts to the public and to raise the standard of execution of the fine arts throughout the nation . . .' The architect of this resolution, Congress - man Arthur G. Klein, has generously testified to the influence of the Art s Council on his proposals . In Canada a Royal Commission on Nationa l Development in the Arts, Letters and Sciences was set up two years ago , under the Chairmanship of the Rt. Hon. Vincent Massey, P.C., C.H. Its Report, issued this spring, recommends the setting-up of the Canad a Council, a composite body which will discharge the functions exercised in this country by the Arts Council, the British Council, and the Nationa l Commission for UNESCO. The public appetite for poetry readings and recitals appears to be in- Poets' creasing, certainly in London . Regular monthly recitals have been Progress organised by the P .E.N. Club at the Mercury Theatre ; and the Royal Society of Literature held two recitals, the programmes of which wer e carefully planned to exhibit two differing traditions of English poetry - the rugged and the flowing. The Apollo Society, which makes a specia l point of combining poetry with music, ran a particularly successful series of weekly recitals at the Arts Council headquarters during the Londo n Season of the Arts. Each programme of the eight recitals was sponsore d by a contemporary poet; and included readings of the sponsor's own poem s or of poems chosen by him. The sponsors were John Betjeman, Walter d e la Mare, Dylan Thomas, Stephen Spender, Cecil Day Lewis, Edmun d Blunden, Edwin Muir and Christopher Fry . Extracts from the Art s Council prize poems (mentioned on p . 9) were included in these pro- grammes, and also in a highly successful recital at the Wigmore Hall, wher e the readers were Dame Edith Evans, Miss Peggy Ashcroft, Miss Margare t Rawlings, John Laurie, Cecil Day Lewis and David King-Wood, and th e pianists Miss Natasha Litvin and Mewton-Wood . The Council's Poetry Panel, now in its second year of existence, is exploring further ways and means of stimulating the taste for poetry. There was a healthy volume of outgoing traffic in the arts during the Arts and year, much of it under the sponsorship of the British Council . The Sadler's Exports Wells Ballet achieved a fabulous success in its 28-week tour of the U .S.A. and Canada ; the Old Vic enlarged its international reputation by visits t o Holland, Denmark, Switzerland, Belgium ; Stratford made history in Australia; and Norman Marshall's company enjoyed a successful 12-wee k tour in India. Musical missions included those of the London Philharmonic Orchestra to Germany and the much-travelled Boyd Nee l 13

Orchestra to Italy and Germany . If imports of the arts from abroad were fewer, except in the visual arts, they nevertheless included such auspicious visits as that of La Scala from Milan, and the rally of European and other choirs at the inspiring International Eisteddfod of Llangollen . An Eye for The cultivation of public sensitivity to architecture has been patientl y Buildings fostered in recent years by such bodies as the R.I.B.A., the Georgian Group, and the National Trust . The Festival of Britain provided a few spectacula r efforts in this direction, notably through the many challenging features o f the South Bank and the exhilarating renovation of Poplar. Elsewhere more modest endeavours were made to interest the public in this social art: at Bath there was provided an historical exhibition of local architecture, an d at Coventry an exhibition demonstrating how the city might be rebuilt. But solutions have still to be found to the problems of presentation. An assembly of plans and photographs soon becomes tedious ; models are always popular-but costly to produce and fragile as well . Films, again, are very expensive. The Arts Council would welcome any inexorbitant proposals for encouraging popular interest in architecture . Temples and Since the publication of last year's Report, which referred briefly to Palaces London's Concert Halls, there is good news to report, and not only i n London. Manchester will reopen its new Free Trade Hall in November , and the Halle Orchestra will return there to give its principal annual series of concerts. Liverpool too has reopened, reorganised and splendidly re - decorated its Walker Art Gallery, so long occupied by the Ministry of Food . In London the Royal Festival Hall, opened by Their Majesties the Kin g and Queen on May 3rd, 1951, has been the scene of a brilliant season o f concerts; and while opinions have not been unanimous on the excellence of its acoustic qualities, there is no doubt that London's musical life i s greatly enriched through the erection of this fine building designed specifically for concerts. The London County Council is to be con- gratulated on contributing such an impressive addition not only to th e South Bank Exhibition but to the notable public buildings of London . On June 26th, the Chancellor of the Exchequer announced in the House of Commons that the Government had decided to rebuild the Queen' s Hall as a national concert hall. The new building will incorporate the adjoining site of St . George's Hall and will accommodate 3,500, wit h promenade space for another 1,000. The building should be ideally suited to modern requirements for symphony and choral concerts . There will also be a smaller hall, holding 1,100, for recitals and chamber music . Although the Chancellor could give no promise about when rebuilding might begin , 14 it is significant that the Government should announce this decision in spit e of present economic circumstances . The ultimate rebuilding of the Queen' s Hall will restore a great musical tradition to London life . Another heartening enterprise was given formal recognition this summe r when Her Majesty the Queen laid the foundation stone of the Nationa l Theatre, next door to the Royal Festival Hall . No date can yet be assigned for the fulfilment of this long-cherished ambition, but the laying of th e stone is the first visible token of a great endeavour . Meanwhile the inevitable checks upon public expenditure have nipped in the bud numer- ous promising schemes for civic development in drama and music . In many places groups of diligent pioneers had lately persuaded Loca l Authorities to share in plans for building a new theatre or converting a derelict one, but the realisation of these ventures must now be postponed . Before the 5th Annual Report appeared, a sub-committee had been Opera and appointed by the Council `to study the needs of existing opera and ballet Ballet Policy companies in Great Britain, their relation to one another and their suit - ability for serving audiences in London and the provinces,' and was already at work taking evidence from specialists in both fields . The sub-committee submitted a comprehensive report covering all aspects of its terms o f reference and put forward a comprehensive plan for development through- out the whole country. This report was accepted by the Council an d incorporated in its estimates to the Treasury for the Quinquennium 1951/6. The report laid particular stress on the need to provide more opera an d ballet in the provinces, not only to meet public demand but also to build u p supporting companies, based on provincial centres, through which experi- ence and expertise could be developed. Opinion was unanimous that public interest in opera had grown steadily during the past 20 years ; and it was generally felt that the money at present expended on opera and ballet fro m public funds was justified and that, provided standards could be maintained and improved, public opinion would accept further increases in thi s expenditure. Future plans, nevertheless, would have to be long-term, and not so ambitious as to fail completely if the state of the nation's finance s demanded a reduction of support . The report drew attention to the nee d for closer co-operation and joint planning between the respective oper a and ballet interests, both to ensure that public funds are spent to the best advantage and that the limited artistic resources are put to the best use . At present the Council cannot grant-aid our national operatic and balle t organisations on a scale comparable with that enjoyed by opera and ballet 15

in other countries . The report cited relevant statistics for a number o f foreign opera houses. It has not proved possible for the Council to act upon its opera report during the first year of the new Quinquennium because the Treasury i s unable, at present, to increase the total amount of the Council's grant. A number of recommendations which the report contains are, however, a t present being studied by representatives of the Royal Opera House and Sadler's Wells. The report advocates continued support to the smaller organisations on an annual `ad hoc' basis . The Council hopes to continu e its support to these lesser independent organisations which are doing so much to popularise opera and ballet, at a modest level, throughout the country. 4 St. James's The first stage in renovating the home of the Arts Council was com - Square pleted by the Ministry of Works this spring, and the first two floors of thi s historic house have been fully restored and redecorated. During the London Season of the Arts many hundreds of guests at the Council's three Receptions saw and admired the handsome transformation of 4 St . James's Square . Part of the house is now in use as an art gallery, while it s Great Drawing Room has been in frequent use for Poetry Readings an d Recitals . A short history of the house has been compiled by M . J. McRobert, Deputy Secretary of the Council, and copies of this can be ha d for one shilling. It is perhaps not generally realised how much use is made of 4 St. James's Square, apart from its use as the Council's offices . During the yea r ended March 31st, 1951, only three exhibitions were held in the Council' s gallery on the ground floor, as the restorers were in possession of half th e house. But other rooms were made available without charge to 20 outsid e organisations for the purpose of meetings, lectures or recitals . During the summer of the Festival year, 1951, three exhibitions have been displaye d in the small gallery on the ground floor and, in addition, the Theatr e Architecture Exhibition, sponsored by the British Centre of the Inter - national Theatre Institute, and the Galpin Society's exhibition of Britis h Musical Instruments have been mounted in the other public rooms of th e house. A series of eight recitals of music and poetry were given in th e Great Drawing Room by the Apollo Society and a series of 12 lecture s were given by Miss Else Mayer-Lisman, in connection with the 195 1 Glyndebourne Opera Season . On 27 other occasions rooms were made available to various societies and organisations connected with the art s for the purpose of meetings, lectures, or rehearsals . 16 The Council records with deep regret the death of Mr. H. A. Thew, of Two Newlands, Blundellsands, Liverpool, on May 27th, 1951, after a severe Benefactors operation. Mr. Thew was a generous friend and benefactor of the Arts Council, and particularly of the cause of music in Liverpool and Mersey- side. In 1949, he made a gift to the Council of Government stocks value d at £10,000, and, while he left the disposal of the funds at the discretion of the Council, he expressed the wish that they should be used, as far as possible, for encouraging the practice of music in Liverpool, and for th e benefit of young musicians of that city. The Council has made arrange- ments by which it can seek advice, from time to time, from individuals o r institutions having a special knowledge of the needs of the city . Under her Will, the late Mrs . Elfrida Louise Thornton, who died o n March 14th, 1950, left part of the residue of her Estate to the Arts Council . The bequest is likely to yield a capital sum of about £4,500 . Mrs. Thornton was a friend of the Arts Council for many years and was particualrly interested in the visual arts. It has been decided to retain the capital intac t for the time being and devote the income to some special purpose and not to the general funds . The objects on which the income will be spent wil l be varied from time to time, but for the first year the money will be devoted to the purchase of works of art for the Council's permanen t collection. Miss M. C. Glasgow, C.B.E., relinquished the post of Secretary-General Secretary- on March 31 st, 1951 . When the Committee for the Encouragement of General Music and the Arts was formed in 1940 Miss Glasgow, then an H.M.I. in the Ministry of Education, became its Secretary, and subsequently serve d more than 11 years as chief executive officer . She devoted herself enthusiastically to its affairs and made a notable contribution to it s development . The post was advertised but, failing to find a suitable candi- date, the Council, with the approval of the Chancellor of the Exchequer , invited Mr . W. E. Williams, C.B.E., to accept the office and, afte r resigning from the Council, he did so. Mr. Williams was one of the pioneers who founded C.E.M .A. and who thereafter served almos t continuously on the Council, the Executive and the Art Panel . For the last two years he had also been Chairman of the Council's 1951 Committee . He has spent all his working life in various forms of popular education , including many years as Chief Editor of Penguin Books and Director of the Army Bureau of Current Affairs during the war . He is a Trustee of the National Gallery . 17

Three The Council records with great regret the deaths of three of its staunches t Deaths upholders, Mrs. Barbara Ayrton Gould on October 4th, 1950, Dr . Thomas Wood on November 19th, 1950, and Dr . O. H. Mavor (Jame s Bridie) on January 30th, 1951 . Mrs. Ayrton Gould joined the Council in 1946, and despite the calls of a busy political life she devoted much of her time and energy to the affairs o f the Council. Dr. Thomas Wood was one of the Council's oldest friends, for he took part, with Sir Watford Davies and others, in the preliminar y informal talks which ultimately led to the founding of C .E.M.A. In 1942/3 he was a member of the Music Panel, but during much of this tim e he was travelling in Australia and New Guinea on a war-time mission . In 1949 he succeeded Sir Stanley Marchant as Chairman of the Music Panel , at the same time joining the Council and its Executive Committee . From then until the day of his death he gave his time generously to the Council's numerous committees . He died before his new work, The Rainbow, commissioned by the Council for the Festival of Britain, was given its firs t performance . Dr. O. H. Mavor was a member of C .E.M.A. and the Arts Council fro m December, 1942 to May, 1946 . When the Scottish Committee was set up in 1943, he became the first Chairman and continued as a member of th e Committee until his death on January 30th, 1951 . As James Bridie, Dr. Mavor had an international reputation in the theatre, and public tribute s were paid to his contribution as a playwright by the press on his death . But whatever his commitments Dr . Mavor always found time for his wor k with the Scottish Committee, and his death will leave a gap which is no t easy to fill. Council Under the terms of the Charter the following members of the Council Membership retired on December 31st, 1950 : The Countess of Rosebery, Sir Mauric e Bowra and Sir Bronson Albery . In addition, Mr . W. E. Williams resigned his place on the Council before taking up his appointment as Secretary - General on April 1st, 1951 . In February, 1951, the Hon. Sir Jasper Ridley resigned his membership because of other commitments . Sir Bronson Albery, as a member of the Executive, was eligible fo r re-appointment and was re-appointed by the Chancellor of the Exchequer . At the same time were appointed:-The Countess of Albemarle, Mr . Richard Capell, O .B.E., M.M., Mr. John Carter, Mr. Edric Cundell , C.B.E., and Mr. G. T. McGlashan, C.B.E., already a member of th e Scottish Committee . Mr. Cundell was also appointed Chairman of th e Music Panel and a member of the Executive Committee . 18 The Executive Committee was re-appointed for a further year and its existing members were joined by Mr . Cundell, and, later, by Sir Kenneth Clark who returned to the Committee after an absence of two years an d also became Chairman of the Art Panel . Professor Gwyn Jones was due to retire from the Welsh Committee o n Welsh December 31st, 1950, but was re-appointed for a further period . Committee Details of the Scottish Committee are included in the separate repor t devoted to Scottish affairs . While it is hoped that the Accounts appearing on page 36 et seq. are Annual Accounts self-explanatory, there are one or two points which perhaps should b e 1950-5 1 underlined. As noted elsewhere in this Report, the Treasury agreed that the Council's grant-in-aid should be increased by £400,000 to enable it t o undertake the special expenses and responsibilities of the Festival o f Britain in 1951 . Of this sum, £100,000 was advanced to the Counci l before March 31st, 1951, and has been included in the grant figure show n on the credit side of the Income and Expenditure Account for the yea r 1950/51 . Obviously the bulk of the Festival expenditure will fall on th e year 1951/52, but some disbursements were made before April 1st, 1951 , and of the surplus of £31,667 6s . 5d. shown in the Income and Expenditure Account for the year ending March 31st, 1951, £19,886 lls . 4d. represents the sum carried forward to the year 1951/52 for Festival purposes .

19

III . MUSI C

Symphony One of the Council's major commitments is the financial aid it gives to th e Orchestras permanent Symphony Orchestras with which it is associated . During the year it was able to maintain-but not, as it had hoped, to increase-th e level of these grants . The Festival of Britain gave the orchestras an ex- ceptionally good `trading year,' and to some extent conceals the crisi s which now confronts them . Their costs are rising, and although admission prices to concerts have in many cases been slightly increased, the additiona l revenue does not match the inexorable piling up of expenditure . With such restrictions any improvement in the conditions of the orchestra s seems virtually impossible. The comparative numbers of concerts given in the last two years by the four Symphony Orchestras associated with the Council are these :- 1949-50 1950-5 1 City of Birmingham 238 220 Halle 197 1941 Liverpool Philharmonic . . 193 202 London Philharmonic 241 234* t This orchestra also gave nine concerts in Portugal under the auspices of the Britis h Council. s This orchestra also gave 18 concerts in Holland and Germany under the auspices of th e British Council. N.B.-The London Symphony Orchestra is also in association with the Council i n respect of concerts promoted by that orchestra . The Southern and Western Philharmonic Orchestras received help through the guarantee scheme administered by the Nationa l Federation of Music Societies . The new Scottish National Orchestra completed its first season wit h distinction, and the two Festival concerts it contributed to the London Season of the Arts were warmly commended in the Press . Further infor- mation will be found in the Scottish'Committee's Report . Chamber and There was a general decline during the year in the attendance at concert s String Orchestras by chamber and string orchestras. The Serenade Concerts at Hampto n Court (shared by the New London and the Jacques Orchestras) attracte d about the same numbers as last year ; and the Borough of Twickenham and the Esher Urban District Council again supported the series with guaran- tees. A short experimental series of Serenade Concerts in the courtyard of the Victoria and Albert Museum proved very attractive, the acousti c conditions being remarkably good . The Boyd Neel Orchestra embarke d 20

upon a scheme, in conjunction with the John Lewis Partnership, of regula r concerts for the staff of that organisation and the results were so successfu l that the venture is being developed further . Comparative concert totals are as under:- 1949-50 1950-5 1 New London Chamber Orchestra . . 38 46 Boyd Neel Orchestra 72 72* Jacques Orchestra 61 49 Riddick String Orchestra 27 24 * This orchestra also gave 10 concerts in Italy and Germany. N.B.-The Lemare String Orchestra gave eight concerts in association with the Council . During the year the system of guarantees administered through the National National Federation of Music Societies was revised and enlarged . The Federation of Music National Federation represented to the Council that the Carnegie Unite d Societies Kingdom Trust aid to the smaller choral and orchestral societies was coming to an end and that many of these were not eligible, under existing arrangements, for financial help from the Council . The Council accord- ingly revised its guarantee scheme to meet this situation and societies no w qualifying for assistance are classified on the following basis :- `A' Societies - with an annual turnover exceeding £400. `B' Societies - with an annual turnover between £100 and £400 . Music Clubs -i.e., groups presenting recitals and chamber music b y prof6ssional artists. The summary of activities in this category during the year was :- Type of Society Number Number of Amount Concerts Offered `A' Societies 88 298 £8,780 `B' Societies 76 168 £2,295 Music Clubs 108 530 £3,152 Apart from the aid afforded through the National Federation of Musi c Other Club s Societies the Council continued to support, by grant or guarantee, a and Societies number of societies and clubs not affiliated to the National Federation . One hundred and nineteen clubs received such assistance during 1950-51 , compared with 205 in 1949-50. The so-called Industrial Music Clubs are no longer distinguished or administered as such; some are now affiliated to the National Federation, and the rest are dealt with under the system o f direct aid mentioned above . 21

Grants to other amateur choral and orchestral societies and amateu r operatic societies for `stiffening' their local resources by professional artists rose considerably during the year ; and on this account a total o f £1,668 was disbursed in sums ranging from £5 to £150 . Directly Of the concerts organised by the Council itself, in places where n o Provided local promoting body is established, there is little change to report from Concerts previous years . The number of such concerts fell slightly from 313 in 1949-50 to 302 in the current year. Special The work of specially recruited units mounting various musical activitie s Groups has been noted in previous reports and continues to be popular in all part s of the country. The Grand Opera Group provided 83 performance s between October 9th and March 17th, and expanded its repertory to in- clude a choice of three contrasted programmes. The first was an introduc- tory one drawing upon familiar operatic excerpts ; the second was a follow- up selection covering a wider field ; while the third led up to an abridge d version of Mozart's Cosi fan Tutte. Similar special groups which have been well received include `Music for Awhile'-four singers and a pianist performing non-operatic vocal music, including the Brahms Liebeslieder ; two instrumental groups presenting chamber music on the same lines a s the B.B .C.'s `Music in Miniature .' Two new groups, the `Abelard En- semble' performing vocal and instrumental items with Vaughan Williams's song-cycle On Wenlock Edge as a centre-piece, and `Opera Trio', directe d by Anthony Hopkins, have been successfully launched . The latter wil l present a double bill of Wolf Ferrari's Susanna's Secret and Menotti' s The Telephone. Finally, Pepita Sarazena's group of Spanish musicians an d dancers has been a favourite attraction for many societies and clubs durin g the last few years . Gramophone Four hundred clubs and societies are now using the Gramophon e Library Library regularly. Additions during the year included a number of recordings of spoken verse, among them those recently made under the auspices of the British Council. Help for Reference has been made in former Reports to the special fund s Young Artists administered by the Council for helping to train young artists of out- standing ability. During the year regular grants were made to five suc h students and two smaller sums were given to other students for specifi c purposes.

22

IV . ART

The policy of presenting major exhibitions from abroad was continued Exhibition s during the year. The collection of thirty-five magnificent Rembrandts wa s a feature of the Edinburgh Festival, where it was visited by 44,000 in three weeks. Subsequently the famous `Family' borrowed from Brunswick wa s exhibited in London at the National Gallery . At the Council's own gallery, the New Burlington, there was a full house every day for the firs t showing in this country of Picasso's ceramics . The two other foreig n features of the year were the `William and Mary Exhibition' mounted at the Victoria and Albert Museum, and the exhibition of Berthe Morisot a t Messrs. Matthiesen's gallery in Bond Street. Among other important exhibitions organised by the Council were a selection of his pictures from Woburn Abbey lent by the Duke of Bedfor d and never previously shown to the public ; Rowlandson Drawings, lent by Mr. Gilbert Davis; French Paintings from the Burrell Collection, lent by the Glasgow Art Gallery ; and Danish Illustrators, an attractive selectio n specially assembled for the Council by a Danish Committee . The very popular exhibition of Sculpture in the Home, displaying the work of livin g sculptors, was toured in a second version. The eight other exhibitions organised by the Council for the Festival are referred to elsewhere in thi s report. At the New Burlington Galleries the smaller gallery has been redecorated The New and `restored to use, so that the Council now. enjoys possession of the Burlington complete set of rooms . Several societies continue to rent the premises for their own exhibitions, and the amenities of the place will in due course b e improved by the opening of a canteen for light refreshments . The entrance to the Galleries, so long an eyesore, has been refurbished . A new development which proved an emphatic success was the in- Art Films auguration of a service of Art Films . With the assistance of the Britis h Film Institute, a mobile unit has been organised to show a series of Ar t Films to any society or club willing to pay a modest hiring-fee . The films already available include six of the well-known films produced by Emmer , An Experiment in Cubism, Matisse, and the colour film Images Medievales, made from French illuminated manuscripts . The Council continues to give support to many local societies, but it Art Clubs and notes with regret how few of them appear to develop a constructive pro- Societies gramme of activity or pass beyond the dilettante stage . Notable exceptions 23

to this generalisation are the Midland Regional Artists' and Designers ' Group, at Nottingham ; the Bournemouth Arts Club ; the Penwith Society of Artists in Cornwall at St. Ives; and the Cirencester Arts Society . On different but equally commendable lines the Society for Education in Ar t has continued, under a guarantee from the Council which has never yet been fully called up, its work of promoting exhibitions of original painting , and sculpture for schools . During the year this valuable scheme for per- suading schools and Local Education Authorities to buy contemporar y work has been extended, with excellent results, to Wales . Aid to Artists For some years the Council has applied a policy of practical assistanc e to painters and sculptors in two complementary ways . Thus it pays hiring fees to artists who lend works from their own studios to the Council' s exhibitions, and on this account has paid out a total of £10,000 so far . Year by year, moreover, it has been buying pictures to build up a loan - collection. During the year it expended £1,700 on these normal purchases , and a further £10,840 from Festival funds on supplementary purchases an d commissions. For its total collection of 648 pictures and prints an d fourteen works of sculpture the Council has paid to artists the sum of £17,500. Festiva[ During the Festival of Britain the Council specially commissioned wor k share-out by twelve sculptors, some of which was lent to the South Bank . In addition it bought eight of the works submitted under the `Sixty Paintings' scheme. A special sub-committee has been set up to consider how these Festiva l acquisitions can best be distributed throughout the country . The Festival of Britain has, further, invited the Council to accept responsibility for advising on the similar disposal of the numerous and important works of art commissioned in connection with the Festival. Whatever else it has done the Festival year has added considerably to the country's movable property in the visual arts.

24

V . DRAMA

The Council's endeavour to establish a permanent theatre in Swansea came A Setback to grief. Among factors which emerged during the post-mortem on this and a Developmen t enterprise were : (a) there must be an active preliminary interest among local citizens and a solid centre of box-office support ; (b) there must be full control of the theatre building and not a mere tenancy of it . Other factors more imponderable than these, included the question : how big has a town to be nowadays to offer any likelihood of keeping a civic theatr e full? The Council has had to withdraw from a similar endeavour at Salis - bury (pop. 30,000) where for several years the Arts Theatre has registere d high artistic success without, however, diminishing its calls upon the Council's funds. Apart from presenting plays in its own theatre, th e Salisbury Company has toured several small towns in the surrounding area. The Council's decision to withdraw its aid was taken with reluctance an d is tempered by the determination of a local group of citizens to redee m the situation and develop the work originated by the Council . They are setting up a Trust to carry on the venture and, backed by a small gran t from the Council and certain promises of help from Local Authorities, are making one more bid to set the theatre on its feet. The changes in the policy and direction of the Old Vic, by far the largest Municipal theatre organisation of those supported by the Council, are referred to in Support `Notes of the Year' in this Report . Its regional subsidiary, the Bristol Old Vic, continues to earn considerable prestige for its productions and its School and, for the time being, enjoys financial support from the Bristo l City Council. Other municipalities which, during the . year, have taken a share in the maintenance of their Repertory Theatres include Nottingham, Kettering and Guildford. But these and other examples of civic aid t o local theatres remain a disappointing drop in the ocean of need . The overall situation is no better-in some respects even worse-than it was i n the conclusion expressed in last year's Report : `It is in the resident repertory theatres of character and distinction, supported by Corporation Funds, by local enthusiasm and by Arts Council subsidy when required, that the bes t promise for the future lies .' It lies there still, but at no less a distance tha n before. Various methods were attempted during the year to give some assistance Aid to to repertory companies . One was a limited scheme for subsidised bus Repertory services to carry people, on a combined theatre-and-bus ticket, to adjacen t 25

towns where repertory theatres were running . Four prizes were offered, of £100 each, for new plays suitable for repertory companies. The response was disappointing for only seven entries were received, of whic h two were adaptations from novels. It was decided to make only two award s -one to Nottingham for the production of Here Choose I, by Yvonne Mitchell, and one to Guildford for that of Close Combat, by George Grimaldi. A consolation award of £50 was made to Northampton for th e production of its adaptation of Mansfield Park. Directly In the autumn of last year the Council promoted a very successfu l Manage d production of Othello by Kenneth Tynan with the American actor Gordon Tours ' Heath in the title-part, and another of The Devil's Disciple, by Ellen Pollock. In the spring of this year it became necessary to restrict the are a of directly managed tours to Wales and North-East England, where a production of Sartre's Crime Passionel, by Warren Jenkins, was toured for six weeks. Mobile Drama The Council gave assistance to two imaginative efforts to reduce th e costs of touring companies . One was Caryl Jenner's Mobile Theatr e Company, a compact unit constructed to serve villages and small towns . The other was the Arena Theatre which carries its portable theatre, seat s and all, in a couple of ex-R .A.F. trailers, and can set itself up inside a town hall or upon a village green.

26

VI . OPERA AND BALLET

The Covent Garden Opera Company brought its repertory up to a total of The Royal Opera House, 28 operas by adding productions of The Flying Dutchman, La Tosca, Covent Garde n and Tchaikovsky's The Queen of Spades (for the first time in English) . During the London Season of the Arts, it gave the first performance of Vaughan Williams's new opera, The Pilgrim's Progress, a morality after Bunyan, and a special series of Wagner performances in German, including two cycles of Der Ring des Nibelungen, Tristan and Isolde, Parsifal and Die Meistersinger. Later during the festival period, The Fairy Queen was revived, and The Bohemian Girl presented under the personal supervisio n of Sir Thomas Beecham. Guest conductors included Erich Kleiber , Clemens Krauss, Sir Thomas Beecham and Constant Lambert. Although 1950/51 was the, longest opera season ever given at Covent Garden , attendances were remarkably good and averaged 87 per cent . The Sadler's Wells Ballet added two important works by guest choreo - graphers to its repertory-Ballet Imperial, by George Balanchine, and Ballabile, by Roland Petit-before paying its second visit to the Unite d States and Canada. On its return, Frederick Ashton made a new version o f Ravel's Daphnis and Chloe for it; and during the Festival period he did th e choreography for Constant Lambert's specially commissioned ballet score, Tiresias. The average ballet attendance at Covent Garden was 9 7 per cent. of capacity. At Sadler's Wells Theatre, the Opera Company's new productions con- Sadler's wells Theatre sisted of Vaughan Williams's Hugh the Drover, The Barber of Seville, Don Carlos, in a new arrangement by Norman Tucker, and Janacek's Katya Kabanova (for the first time in this country). A five weeks' festival season was held in May and June, 1951, during which a new production of Purcell' s Dido and fEneas was given. The Sadler's Wells Theatre Ballet made marked progress during th e season . John Cranko, its resident choreographer, devised three new ballet s for the company: Pastorale, Pineapple Poll and Harlequin in April. Pineapple Poll, based on one of W . S. Gilbert's Bab Ballads and danced to music by Sullivan, won immediate popularity with the public . The score of Harlequin in April was specially commissioned by the Arts Council from Richard Arnell . In addition, Balanchine mounted a new ballet for th e company to Haydn's Trumpet Concerto . 27

English Opera In 1950 the English Opera Group revived Britten's version of The Group Beggar's Opera at the Aldeburgh and Cheltenham Festivals and brought i t to London for a short run afterwards. There was also a Christmas revival ofLet's Make an Opera! During the London Season of the Arts in 1951 the Group presented a new production of Purcell's Dido and 'Eneas (preceded by Monteverdi's II Combattimento di Tancredi and Clorinda) and revived Britten's The Rape of Lucretia and Albert Herring. Subsequently it played some of these operas at the Aldeburgh, Cheltenham and Liverpool Festivals; and at Cheltenham and Liverpool it also presented a dual bil l consisting of The Sleeping Children, a new opera by Brian Easdale to a libretto by Tyrone Guthrie, and Gustav Holst's short chamber opera, The Wandering Scholar . The Group visited Holland in both 1950 and 1951 . The The Rambert Ballet introduced a new choreographer in David Paltenghi , Ramber t whose ballets The Eve of St Ballet . Agnes, Prismatic Variations and Scherzi della Sorte were added to its repertory . During the summer of 1951 it appeare d at festivals at Bath, Canterbury and Perth . At Bath it created Fate's Revenge to music by Peter Tranchell, and at Canterbury a ballet entitle d Canterbury Prologue to a specially commissioned score from Peter Racin e Fricker. Intimate After its successful tour of the United States, Intimate Opera returned to Opera this country in the winter of 1950/51 and resumed its touring . During the Festival it was seen in London at the Mercury Theatre where it added three one-act operas to its repertory : The Spanish Rivals, by Geoffrey Bush, to a libretto based on Sheridan's The Duenna; Le Bal Masque, adapted from Stephen Storace's My Grandmother ; and Jealousy Rewarded (Il Geloso Schernito), an adaptation of an 18th century Italian opera . London Opera The London Opera Club provided two operatic bills for the 1950 Bath Club Assembly : The Secret Marriage and Susanna's Secret together with Arthur Benjamin's Prima Donna. Later in the year they presented Le Pauvre Matelotand II Campanelloin London ; and during the Festival period they gave performances of Michael and Frances, an Elizabethan farce jig, and The Judgement of Paris, Congreve's masque with music by Eccles, in the Great Hall at Hampton Court . Welsh The Welsh National Opera Company's fortnight in Swansea during the National Opera autumn of 1950 was highly successful Company ; and during the Festival period they presented their repertory in Cardiff, Swansea, Aberystwyth and Llandudno , and at the National Eisteddfod .

28 VII . SOME REFLECTIONS ON POLICY

The objectives and the operational methods of the Council are no t always appreciated as they might be, even by its well-wishers, and the Annual Report affords a convenient opportunity for re-stating them. Among several myths and misconceptions are (a) that the Council has a metropolitan bias and an indifference to the Provinces; (b) that it supports , by its formula of association, West End theatrical successes of a frivolou s nature; (c) that it indulges excessively in the direct provision of the arts . The diagram on page 33 of this Report shows how little there is in the firs t of these criticisms-and it brings out, moreover, the pattern of obligatio n which the Council has accepted in maintaining the arts . For example, one very large fraction of its revenue goes to subsidising such National Institutions as Covent Garden, Sadler's Wells and the Old Vic, which , although located in London, are as much a national inheritance as th e British Museum, the National Gallery and the Victoria and Albert Museum . They even manage, in spite of innumerable difficulties, to tour many provincial centres; and the proportion of our budget which they absor b may reasonably be debited to the country as a whole, rather than to London . The misconceptions which have arisen from the Council's relationships `In association with certain West End theatres have been to some extent due until now to with' its own indiscriminate use in play-bills and programmes of the ambiguous phrase `in association with.' That phrase is used, for example, to indicat e that the Council subsidises the work of Covent Garden or the Old Vic . It has also been used to denote that the Council approved the general policy of certain non-profit-distributing managements who had not sought it s financial aid. In neither case does it mean that the managements hav e secured exemption from Entertainments Duty through the Council's aid o r intervention. The managements themselves must invariably persuade H.M . Commissioners of Customs and Excise that their work as a whol e (and not an individual production) qualifies them for tax remission on th e double basis that their constitution is `non-profit-distributing' and that their activities are `partly educational .' Such managements from time to time produce, in the intervals of their more serious ventures, a revue or a popular success, but because they have enjoyed the all-in formula of `i n association with the Arts Council,' the conclusion has often been draw n that the Arts Council has given its moral or monetary support to a pro- duction that seemed to deserve or require neither . This legend, it is hoped, 29

will die now that the Council has decided to discontinue the practice of permitting the phrase `in association with' to appear on the announce- ments of West End `non-profit-distributing' managements-unless they are grant-aided, like the Old Vic, by the Council . At the same time the Council records its warm appreciation of what has been done by some o f these managements, and especially Tennent Productions, Ltd., to maintain such exemplary standards in the theatre . The implications of such phrase s in the Council's vocabulary as `in association with' are being considere d afresh, and these formula will be re-defined in due course . `Direct It is in its Art Department that the Council is most engaged in direc t Management' management-and for the plain reason that no other body exists, or ha s ever existed, in this country to disseminate the visual arts on a nationa l scale. The Art Department then, unlike those of Music and Drama, i s primarily a production unit, making up year by year scores of major an d minor exhibitions which tour the towns and villages of Great Britain . The Council's Music Department does a modest and, happily, a declining business in direct provision. It provides, through its regional machinery , about 300 concerts a year for centres which have not yet developed their own arrangements for concert promotion. By far the major part of its activity is expended in sustaining and, in some cases, advising autonomou s and established music enterprises-the Symphony Orchestras, the Chambe r and String Orchestras and that virile movement of amateur societies an d clubs co-ordinated by the National Federation of Music Societies . In Drama the Council has for some years been experimenting in direc t management . Most of these ventures, even when they have won an artistic success, have proved unable to stand on their own feet ; and the experience has shown that towns as diverse in size as Salisbury (30,000) and Swansea (200,000) cannot sustain a serious theatre of their own unless the populatio n includes a large nucleus of resolute supporters . These major exp--riments in direct management have been reinforced by a number of regional tours , for which the Council has been similarly responsible, but despite the popu - larity of these tours in some Regions, the writing on the wall proclaim s decisively the conclusion that the Arts Council cannot afford to participate in further theatrical ventures of direct management unless there is a sub- stantial local contribution in terms of both enthusiasm and finance . Except in the Art Department, `direct management' is a declining motive in the Council's work, the bulk of which will continue to be devoted to maintaining, guiding and encouraging the activities of existing bodies and thus acting as an independent instrument of State patronage of the arts . 30 A glance at the colour diagram on page 33 reveals how substantial a `Froze n portion of the Arts Council's Treasury Grant goes directly to the national Money ' institutions . However welcome this fact may be to those who realise the vital necessity to sustain these centres of achievement and influence, it also compels recognition of how little `free money' the Council has for development elsewhere . The Council is only able, for example, to give meagre backing to those numerous Arts Centres, Arts Clubs, Music Clubs, etc., which are engaged in cultivating a more enlightened an d appreciative audience for the arts. A body which encourages the promo- tion of concerts, plays and art exhibitions has some responsibility to see that the customers appreciate these offerings . One way to discover the message and method of the arts is for people to form groups and clubs fo r exploring them together. The Council is aware of the importance of thi s `further education' aspect of its work and would like to have more mone y to spend upon it-not necessarily at this stage, by encouraging an increas e in the number of such clubs, but rather by building up a few reliabl e prototypes and by training cadres of volunteers in the proper managemen t of such important-but perilous-ventures . The Arts Council's predecessor and, indeed, begetter, was CEMA, that `Raise or celebrated war-time improvisation which gaily embodied so many worthy Spread if not wholly reconcilable motives-to give employment to artists of al l kinds and thus preserve their expertise ; to maintain morale among dis- tracted evacuees ; to raise production in munition factories ; to exploit that interest in `serious pleasures' which appears to thrive best in our darkes t hours . . . . CEMA had small opportunity, in those precarious times, to insist that high standards should be maintained in such impromptu presentation of the arts as war conditions imposed . The Charter of the Arts Council, however, enunciates a double purpos e -(a) that the Council should seek to elevate standards of performance i n the arts and (b) that it should endeavour to spread the appreciation of the arts. The Council has sought to observe both these injunctions . But the size of its budget in a period of rising costs may require it to re-examine how far both these objects may be simultaneously secured. Is it wiser, in such times as these, to consolidate standards, rather than pursue a polic y of wider dispersal? Such dilemmas as these seem more acute in the field o f drama than in that of music or fine art . Can the Council really do anything worthwhile, out of its slender resources, for the so-called `theatreles s towns,' especially at a time when even the most progressive Local Authori - 31

HOW THE CAKE CUTS UP

The diagram on the opposite page is not a substitute for the audited statement of accounts . It is merely an attempt to display, in a brief and approximate form, the scale on which the Arts Council apportioned its grants in 1950/51, excluding the special Festival expenditure . The basis on which the diagram has been divided u p will, we hope, stimulate discussion . For example, we classify the various Symphon y Orchestras as `national institutions,' although some people will argue that the Hall e Orchestra is a regional organisation . The major Symphony Orchestras have a specia l attachment to their home towns but they play in many places, including London. Similarly we put Covent Garden, Sadler's Wells and the Old Vic in the national and not a London segment, not simply because they tour occasionally but because w e regard them as `belonging' to the nation as a whole . Those who feel inclined to question this classification may ask themselves whether the British Museum, th e National Gallery and the Victoria and Albert Museum belong to a metropolitan or a national category? The greater part of the `other grants and guarantees' include d under the Art, Drama, and Music headings represents money spent outside London . The Scottish Committee of the Arts Council receives a block grant to spend at it s sole discretion and this is shown as a single slice of the total cake (or bannock) . The information depicted in the diagram can also be expressed in arithmetica l terms. Every pound spent by the Council during the year was made up of th e following items :-

OPERA AND BALLET : f s . d . £ s . d . (P) Covent Garden 5 0 (0) Sadler's Wells 1 8 (C) Miscellaneous grant and guarantees 5 7 1 MUSIC : (M) Symphony Orchestras 1 5 (C) Other grants and guarantees, direct provision and genera l expenditure of Music Department 1 7 3 0 DRAMA : (N) Old Vic 1 0 (L) Salisbury Arts Theatre 5 J (IC) Midland Theatre Company 4 Q) Grand Theatre, Swansea 4 1 (H) Theatre Tours 4 J (D) Other grants and guarantees and general expenditure o f Drama Department 8 3 O l ART : (B) The Visual Arts (including general expenditure of Art Department) 1 3 } MISCELLANEOUS : (G) Festivals 1 (F) Arts Centres and Arts Clubs 2 SCOTTISH COMMITTEE : (Q) Scotland (including Edinburgh Festival) 1 9 ADMINISTRATION : (E) Regional organisation 1 6 (A) General administration 2 1 £1 0 0

3 2

'IV

KEY .A General Administration. ppru %i ion anda general expenditure of Music Ll c p ~arc m en t . B Visual Arts (including genera] expenditure of Art Department). b Drama-thcr grants and guarantees and general expenditure of Drama Departmen t C Music-other grants and guarantees, direct E Regional Organisation . MAJOR PROVINCIAL ACTIVITIES F Arts Clubs and Arts Centres .1 Grand Theatre, Swansea. G Festivals. K Midland Theatre Company. H Theatre Tours. L SaBhury Arts Theatre. THE NATIONAL ORGANISATION S M Symphony Orchestras, O Sadler's Wells . N Old Vic. P C.,ent Garden . SCOTLAN D Q Allocation for Scotland (including Edinburgh Festival) .

33 I

ties are reluctant to assist in sponsoring such enterprises as the 1948 Act permits? Might it not be better to accept the realistic fact that the living theatre of good quality cannot be widely accessible and to concentrate our resource s upon establishing a few more shrines like Stratford and the Bristol Ol d Vic? Is it good policy to encourage small, ill-equipped expeditions to set out into the wilderness and present meagre productions in village fit-ups ? These are the questions to which the Council must address itself earnestly and dispassionately in the immediate future. In reconsidering the exhorta- tion of its Charter to `Raise and Spread' the Council may decide for the time being, to emphasise the first more than the second word, and t o devote itself to the support of two or three exemplary theatres which migh t re-affirm the supremacy of standards in our national theatre . As the Governors of the Old Vic have recently expressed a similar motive in thei r policy, the Council may well count upon experienced allies in its furthe r projects. High standards can be built only on a limited scale. The motto whic h Meleager wrote to be carved over the door of a patrician nursery might be one for the Arts Council to follow in deciding what to support during th e next few straitened years-`Few, but roses'-including, of course, regional roses.

34 APPENDICES

THE ARTS COUNCI L APPENDIX A INCOME AND EXPENDITURE ACCOUN T EXPENDITURE 1949/50 OPERA AND BALLET GRANTS AND GUARANTEES £170,000 Covent Garden £145,000 0 0 52,500 Sadler's Wells Foundation 47,500 0 0 3,000 English Opera Group, Ltd. •3,000 0 0 8,394 Miscellaneous Grants and Guarantees 8,792 14 9 £204,292 14 9 MUSIC GRANTS AND GUARANTEE S 42,844 Symphony Orchestras £41,452 2 10 3,275 Chamber and String Orchestras 3,250 0 0 2,800 String Quartets 2,800 0 0 27,179 Miscellaneous Grants and Guarantees 25,282 11 8 72,784 14 6 DIRECTLY PROVIDED CONCERTS 15,365 General 14,434 18 1 1 3,126 Industrial Music Clubs 2,174 15 4 16,609 14 3 431 Wigmore Concert Hall 905 13 7 329 Performing Right Society 158 3 6 5,212 Music Department Salaries 5,319 9 2 15,008 Regional Organisation (apportionment) 14,325 3 0 20,708 9 3 Less Rent charged for Concert Hall 254 Equipment 229 0 0 -- 20,479 9 3 109,873 18 0 DRAMA Grant to Royal Victoria Hall and Ol d 27,500 Vic Trust, Ltd. '27,500 0 0 Other Grants and Guarantees to Asso- 17,278 ciated Companies 14,829 18 2 Net Cost of Companies specially en - 11,228 gaged for Arts Council Tours 11,794 11 2 Net Cost of Salisbury Arts Theatre an d 13,209 Companies 12,321 3 9 24 044 Theatre Royal, Bristol - - - 6',692 Net Cost of Midland Theatre Company 9,287 9 4 Net Cost of Swansea Repertory Com- 10,709 pany 10,567 15 5 5,003 Regional Organisation (apportionment) 4,775 1 0 4,255 Drama Department Salaries 4,189 19 8 95,265 18 6 Less Rent charged to Theatre Com- panies for Motor Vehicles and 900 Equipment 1,128 0 0 94,137 18 6 £468,227 Carried forward £408,304 11 3

OF GREAT BRITAI N FOR THE YEAR ENDED 31ST MARCH, 195 1 INCOM E 1949/50 GRANT-H .M . TREASURY (including advance o f £600,000 £100,000 for 1951 Festival of Britain) £675,000 0 0

MUSIC 5,978 Receipts from General Concerts less Local Expenses 6,680 7 4

ART 3,917 Exhibition Fees and Admission Charges £6,144 16 2 22 Profit on Lithograph Sales 93 13 4 --- 6,238 9 6 500 Sundry Receipts 249 0 9 Balance, being Excess of Expenditure over Income for the 33,577 year ended 31st March, 1950

# These Organisations received additional payment for th e 1951 Festival of Britain as shown on page 40.

£643 ;994 Carried forward £688,167 17 7 37

INCOME AND EXPENDITURE ACCOUNT-continued

EXPENDITURE 194950 £468,227 Brought forward £408,304 11 3 ART 615 Grants £2,795 0 0 16,839 Exhibition Expenses 27,903 2 2 New Burlington Gallery Repairs and 3,652 Decorations 2,656 12 3 2,943 Lecture Fees and Expenses 2,802 3 5 - Art Films 443 4 10 5,003 Regional Organisation (apportionment) 4,775 1 0 6,818 Art Department Salaries 7,209 19 8 -- 48,585 3 4 42,000 GRANT TO SCOTTISH COMMITTEE '47,000 0 0

GENERAL GRANTS AND GUARANTEES 5,000 Edinburgh Festival £3,000 0 0 Buildings Renovations and Equip- 23,265 ment - - - 3,419 Arts Centres and Clubs 3,056 6 1 2,686 Festivals 2,286 10 0 -- 8,342 16 1 Bridgwater Arts Centre-Maintenance 1,074 Charges (less Receipts) 869 0 3 9,211 16 4

" The Committee received additional payment for the 1951 Festival of Britain as shown on page 40.

£581,541 Carried forward £513,101 10 I t 38

FOR THE YEAR ENDED 31ST MARCH, 1951

INCOM E 1949/5 0 £643,994 Brought forward £688,167 17 7

£643,994 Carried forward £688,167 17 7 39

INCOME AND EXPENDITURE ACCOUNT-continued

EXPENDITUR E 1949/50 £581,541 Brought forward £513,101 10 1 1 1951 FESTIVAL OF BRITAIN GRANT TO SCOTTISH COMMITTEE £35,000 0 0 VISUAL AR T Exhibitions, Commissions, and Competitio n 7,656 1 3 MUSIC Concerts, Commissions, and Com- petition s 4,634 12 2 OPERA AND BALLET English Opera Group, Ltd. £5,000 0 0 Other Opera Productions Com- missions and Competitions 3,299 6 3 8,299 6 3 DRAMA AND POETRY Old Vic Trust Ltd . 7,500 0 0 Festival Productions and Com- petitions 2,941 2 2 10,441 2 2 - 66,031 1 10 ADMINISTRATION (including direct expenditure of £14,082 6 10 incurre d in connection with the 1951 Festival of Britain) Salaries and Superannuation Contri- 20,519 bution s *28,434 9 0 Office, Travelling, Entertainment and 8,466 Sundry Expenses 9,314 8 0 10,246 Rent, Rates and Maintenance Expense s 10,411 19 6 8,338 Regional Salaries (apportionment ) 7,958 8 1 10,169 Regional Expense s 11,231 17 3 4,715 Printing and Publicity 10,016 16 7 - 77,367 18 5 Balance, being Excess of Income over Expenditure for the year ended 31st March, 1951 :- On Treasury Grant 11,780 15 1 On Treasury Advance for 1951 Festiva l of Britain 19,886 11 4 31,667 6 5 * Endowment benefits due to members of the Pension Fund are assured by policies held by the Council .

£643,994 £688,167 17 7

40

FOR THE YEAR ENDED 31ST MARCH, 195 1

INCOME 1949/50 £643,994 Brought forward £688,167 17 7

£643,994 £688,167 17 7

41

THE ARTS COUNCI L APPENDIX A BALANCE SHEET A S

LIABILITIE S 1949/50 CAPITAL ACCOUNT As at 31st March, 1950 £27,721 10 4 Add amount transferred from Income and Expendi- 27,722 ture Account 5,562 15 0 Add Expenditure from Pilgrim Trust Fund 1947/4 8 to 1950/51 1,971 2 1 35,255 7 5

16,879 GUARANTEES AND GRANTS OUTSTANDIN G 15,015 13 4

17,168 SUNDRY CREDITOR S 24,050 18 1 1 PILGRIM TRUST SPECIAL FUND As at 31st March, 195 0 4,682 5 1 0 Less Payments during year (including £627 12s . 3d . 4,682 net on Furniture) 715 9 5 3,966 16 5 PILGRIM TRUST CHANNEL ISLES FUND Capital Account 5,000 0 0 5,000 Income Accoun t 75 19 6 --- 5,075 19 6 H. A. THEW FUND Capital Account 9,094 10 9 9,451 Income Account 660 17 3 9,755 8 0 MRS. THORNTON FUND Capital Accoun t 3,613 14 4 Income Account 18 15 3 --- 3,632 9 7

£80,902 Carried forward £96,752 13 2

42

OF GREAT BRITAI N a AT 31ST MARCH, 195 1 ASSET S 1949/50 OFFICE EQUIPMENT At valuation as at 1st April, 1949, and additions at cos t to 31st March, 1950 £5,034 11 8 5,035 Additions during year at cost 1,211 17 0 Additions at cost during years 1947/48 to 1950151 pur- chased from Pilgrim Trust Fund 1,971 2 1 -- --- 8,217 10 9 MOTOR VANS AND CAR S At valuation as at 1st April, 1949, and additions at cos t to 31st March, 1950 8,412 1 4 8,412 Additions less Items Discarded during year t 2,310 11 11 10,722 13 3 PIANO ACCOUNT At valuation as at 1st April, 1949, and additions at cos t 2,754 to 31st March, 1950 2,754 8 4 THEATRE AND CONCERT HALL EQUIPMEN T At valuation as at 1st April, 1949, and additions at cost to 31st March, 1950 5,984 19 6 5,985 Additions during year at cost 500 3 1 1 - 6,485 3 5 LITHOGRAPH S At cost 632 15 1 1 633 Less items sold during the year 22 13 0 610 2 11 PICTURES At cost as at 31st March, 1950 4,902 13 7 4,903 Additions during year at cost 1,562 15 2 6,465 8 9 LOANS TO ASSOCIATED AND OTHER ORGAN- ISATIONS 4,500 Secured by Mortgage 4,375 0 0 Unsecured, and only recoverable out of profits (includin g 23,000 £2,000 from 1951 Festival of Britain Grant) $ 20,248 8 3 27,500 24,623 8 3 23,000 Less Reserve 20,248 8 3 - 4,375 0 0 4,500 £32,222 Carried forward £39,630 7 5 t Two vehicles valued at £238 15s. 5d. on loan were given to the West of England Theatre Company Limited during the year . $ During the year two loans (£250 and £3,000) were converted to Grants : the Reserve has also correspondingly been reduced . 43

BALANCE SHEET-continued

LIABILITIE S 1949/50 £80,902 Brought forward £96,752 13 2 INCOME AND EXPENDITURE ACCOUN T 16,132 As at 31st March, 1950 £12,173 2 1 1 Add Excess of Income over Expenditure for the year ended 31st March, 1951 31,667 6 5

Add Loans to Associated Companies repaid during year 2,340 ended 31st March, 195 1

Less Reserve for Loans to Associated and other Organ- isations

Less Transfer to Capital Account-Fixed Assets; addi- tions less items discarded during the year ended 31st March, 195 1 G CL'1 1 C A 37,779 14 4 55,000 Add Transfer from Buildings' Reserve Account 73,472 27,722 Less Transfer to Capital Account

Less Excess of Expenditure over Income for the year 33,577 ended 31st March, 1950 12,173

£93,075

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 exhibi t

44

AS AT 31ST MARCH, 1951

ASSET S 1949/50 £32,222 Brought forward £39,630 7 5 H. A. THEW FUN D Investments as at date of Transfer - £6,876 16s. lld. British Transport 3% Stoc k (Market Value £6,086 Os . 2d.) £6,326 13 1 1 £2,809 19s. 10d . 31% Conversion Stock (Market Value 9,094 £2,585 3s. 10d.) 2,767 16 10 9,094 10 9 PILGRIM TRUST CHANNEL ISLES FUND Investment at cost- £5,065 17s. 10d. 3% Savings Bonds 1960/70 (Market Value £4,825 5s . 2d.) 5,000 0 0 MRS. THORNTON FUND Investments at cost or as at date of Transfer- (Market Value £3,462 12s . ld.) 3,613 14 4 19,191 SUNDRY DEBTORS, PAYMENTS IN ADVANCE 8,484 11 1 CASH On Deposit 53,000 0 0 On Current Account 14,446 8 10 Imprests 1,008 0 0 32,568 In hand 254 15 1 68,709 3 1 1

Chairman: E. H. POOLEY.

Secretary-General: W. E. WILLIAMS.

£93,075 £134,532 7 6

a true and fair view of the transactions of the Arts Council of Great Britain and of th e state of their affairs . (Signed) F. N. TRIBE, Comptroller and Auditor-General. Exchequer and Audit Department, 7th September, 1951 . 45

APPENDIX B THE ARTS COUNCI L LIST OF GRANTS AND GUARANTEES PAID BY THE ARTS COUNCIL OF GREAT MENTS FOR GUARANTEES NOT (N.B.-This list does not include any advance OPERA AND BALLE T Covent Garden Opera Trust £145,000 0 0 Sadler's Wells Foundation 47,500 0 0 English Opera Group 3,000 0 0 Mercury Players Ballet, Ltd. (Ballet Rambert) 2,000 0 0 St. James's Productions, Ltd . (St. James's Ballet) 500 0 0 Opera Studio 1,000 0 0 Intimate Opera Society, Ltd. 1,000 0 0 Welsh National Opera Company 1,800 0 0 Grand Opera Productions, Ltd . (Carl Rosa) *2,000 0 0 London Opera Society, Ltd . (London Opera Club) 400 0 0 Other Opera Payments 92 14 9 £204,292 14 9 MUSI C Symphony Orchestras and Orchestral Schemes London Philharmonic Orchestra £10,000 0 0 Liverpool Philharmonic Society 9,000 0 0 City of Birmingham Symphony Orchestra 9,000 0 0 Halk Concerts Society 10,000 0 0 London Symphony Orchestra 2,000 0 0 Eastern Symphony Concerts Committee *400 0 0 Welsh Orchestral Concerts and Festivals 1,052 2 10 41,452 2 1 0 Chamber and String Orchestras New London Orchestra 1,000 0 0 Jacques Orchestra 1,000 0 0 Boyd Neel Concert Society 500 0 0 Riddick String Orchestra 250 0 0 Lemare String Orchestra 300 0 0 Newbury String Players 200 0 0 3,250 0 0 String Quartets Welsh University Quartets 1,200 0 0 Peter Gibbs String Quartet 1,600 0 0 2,800 0 0 Miscellaneous Grants and Guarantees Payments to 140 Music Societies and Club s affiliated to the National Federation of Music Societies in respect of guarantees *12,027 17 8 National Federation of Music Societies (Gran t towards Administration Expenses) 1,750 0 0 Direct Grants and Guarantees to Music Clubs fo r concerts 6,214 14 0 Rural Music Schools Association 2,000 0 0 Central Music Library 750 0 0 New Era Concerts Society *1,000 0 0 London Contemporary Music Centre 150 0 0 Committee for the Promotion of New Music 600 0 0 Croydon Civic Hall (Lunch Hour Concerts) *440 0 0 Brighton Philharmonic Society (Hastings Festival) 350 0 0 25,282 11 8 72,784 14 6 Carried forward £277,077 9 3

46

OF GREAT BRITAI N BRITAIN DURING THE YEAR ENDED 31ST MARCH, 1951, INCLUDING COMMIT - CALLED UP WITHIN THE YEAR. payments in respectof the Festival of Britain.) Brought forward £277,077 9 3 DRAMA Royal Victoria Hall and Old Vic Trust, Ltd. £27,500 0 0 Adelphi Guild Theatre, Ltd. 500 0 0 Nottingham Theatre Trust, Ltd. 2,000 0 0 West of England Theatre Co ., Ltd. 2,215 15 5 Mrs. Langley Moore Museum of Costumes 400 0 0 Intimate Theatre Group (Arena Theatre Co., Ltd.) 2,008 0 0 Bankside Players *202 11 0 Chesterfield Civic Theatre, Ltd . 2,000 0 0 International Theatre Institute (British Centre ) 750 0 0 Ipswich Arts Theatre Trust *200 0 0 The Caryl Jenner Mobile Theatre 1,000 0 0 Welsh Drama Association 120 0 0 Council of Social Service for Wales and Monmouthshir e *1,711 11 1 1 The Garthewin Players *190 0 3 Kettering Repertory Theatre, Ltd . 1,000 0 0 Play Competition Awards 250 0 0 Other Payments 281 19 7 42,329 18 2 ART Institute of Contemporary Arts 1,400 0 0 Society for Education in Art *550 0 0 Colchester Art Society 65 0 0 Penrith Society of Arts 150 0 0 Otley Arts Club 25 0 0 Cirencester Arts Club 50 0 0 Midland Regional Group of Artists and Designers 150 0 0 Bournemouth Arts Club 100 0 0 Artists International Association 80 0 0 Young Contemporaries Exhibition *150 0 0 Hampstead Artists Council 75 0 0 2,795 0 0 GENERAL Edinburgh Festival Society, Ltd . 3,000 0 0 Bluecoat Society of Arts 600 0 0 Plymouth Arts Centre 550 0 0 Grants and Guarantees to Arts Clubs 1,906 6 1 Cheltenham Arts Festivals, Ltd . *750 0 0 Bath Assembly *750 0 0 Aldeburgh Festival 500 0 0 English Festival of Spoken Poetry 136 10 0 Apollo Society, Ltd . 150 0 0 8,342 16 1

e

£330,545 3 6 * Guarantees . 47

THE ARTS COUNCI L APPENDIX C THEATRE ROYAL ,

THEATRE PROFIT AND LOSS ACCOUN T

TO Payments to Visiting Companies £1,691 13 9 „ Payments to Bristol Old Vic Company under sharin g agreement (including amount transferred fro m Theatre Management Expenses) 20,346 2 7 „ Theatre Management Expenses : Wages and Salaries £7,343 6 1 0 Rent, Rates, and Insurance 1,186 19 9 Heat, Light and Water 1,071 1 5 Licences and Royalties 1,148 2 9 Printing, Publicity, Stationery and Advertising 2,198 4 6 Repairs and Maintenance 295 1 4 Accountancy Fees 265 13 0 Sundry Expenses 354 15 9 Telephone and Postage 141 2 0 14,004 7 4 Less amount agreed to be borne by Bristol Old Vi c Company 840 0 1 13,164 7 3 £35,202 3 7

GENERAL PROFIT AND LOSS ACCOUNT

TO Loss for Year 3,052 15 4 „ Net Profit carried to Balance Sheet 413 19 1 0

L5,406 13 1

48

OF GREAT BRITAI N BRISTO L

FOR THE YEAR ENDED 31ST MARCH, 195 1

BY House Receipts at Theatre Royal £32,149 8 3 „ Loss for Year carried to General Profit and Loss Account 3,052 15 4

_ £35,202 3 7

FOR THE YEAR ENDED 31ST MARCH, 195 1

BY Bar Profits 1,374 12 2 „ Programme and Cloakroom Receipts (net) 592 3 0 „ Grant from Bristol Corporation towards Theatre Expenses 1,500 0 0 £3,466 15 2

49

ARTS COUNCIL OF GREAT BRITAI N

BALANCE SHEE T

LIABILITIE S

PROFIT AND LOSS ACCOUNT : Net Profit for Year ended 31st March, 1951 £413 19 1 0 Add Old Vic Payments originally charged in the Accounts for the Year ended 1st April, 1950, but subsequentl y agreed by the Arts Council and the Old Vic Trus t to be borne by the 1950-1951 Season 571 3 8

ya> > o Less Transfer to Special Reserve Account 985 3 6 - - -

SPECIAL RESERVE ACCOUNT : Amount transferred from Profit and Loss Account to be appropriated in accordance with the terms of the lease £985 3 6

SUNDRY CREDITORS 3,424 3 1

£4,409 6 7

I have examined the foregoing Accounts and Balance Sheet. I have obtained all the information and explanations that I have required, and I certify as the result of my audi t that in my opinion these Accounts and Balance Sheet are properly drawn up so as t o

50 THEATRE ROYAL, BRISTO L AS AT 31ST MARCH, 1951 ASSET S

COST OF ALTERATIONS AND IMPROVEMENTS TO BUILDINGS, FIXTURES AND FITTING S Expenditure during year £370 3 5 Less Amount paid by Bristol Corporation on account o f their Grant of £5,000 towards Capital Expenditure 370 3 5

BAR STOCKS £1,266 10 1 0 OLD VIC PAYMENTS AGREED TO BE CARRIED FORWARD TO 1951/52 SEASON 581 11 7 SUNDRY DEBTORS AND PREPAYMENTS IN ADVANCE 808 15 0 CASH AT BANK AND IN HAN D 1,752 9 2

Chairman: E. H . POOLEY .

Secretary-General : W. E. WILLIAMS .

u+,+vy o i exhibit a true and fair view of the transactions of the Arts Council of Great Britain, Theatr e Royal, Bristol, and of the state of the Theatre's affairs. (Signed) F . N. TRIBE) Comptroller and Auditor-General. Exchequer and Audit Department, 7th September, 1951 . 5 1 APPENDIX D

EXHIBITIONS HELD DURING THE PERIOD APRIL 1950-MARCH 195 1

Paintings, Drawings and Sculpture Arts Council Collection, Parts I and I I Picasso in Provence Christian Berard, Exhibition of Painting s Penwith Society of Arts in Cornwall and Decors Pictures for Schools, 194 9 Paintings by British Women, 195 0 Pictures for Schools, 195 0 Designs for an Act Dro p Pictures of To-day by Artists from the Bristol Old Vic Designs North-Wes t French Paintings of the Nineteent h Rembrandt Century from the Burrell Collectio n Marion Richardson Memorial Exhibitio n CEMA Collection, Parts I and II-Oils William Rothenstein Memorial Exhibitio n CEMA Collection, Part III-Watercolours A Tour through Wales-Drawings by Some Purchases of the Contemporary Art Thomas Rowlandson Society for Wales Watercolours and Drawings by Rowland - Designs for Opera and Ballet at Coven t son from the Gilbert Davis Collection Garden A Selection from the Royal Academ y East Anglian Scene Summer Exhibition, 1950 English Watercolours from the Gilbert Royal Scottish Academy, 195 0 Davis Collectio n Randolph Schwabe, Drawings, Water - English Portraits, 1850-195 0 colours and Book Illustrations Five Contemporary Painters Sculpture in the Home (Second Exhibition) Folk Art of Poland Some Twentieth-Century English Paint - Fusel i ings and Drawings A Time of Harvest, Drawings and Pastel s Twenty-five Paintings from the Walke r by Sir Geo . Clausen, R .A. Art Gallery Modern Italian Ar t Eighteen Pictures from the Wellingto n Landscape Painting by Contemporary Gift Artist s Contemporary Welsh Ar t Fernand Lege r William and Mary and their Tim e Berthe Morisot, an exhibition of Painting s Paintings from the Woburn Abbey and Drawings Collection (lent by the Duke of Bedford ) Society of Mural Painters-First Exhibi- Paintings and Silver from the Wobur n tion Abbey Collection (lent by the Duke o f Some Pictures from the National Bedford ) Eisteddfod 1950 Exhibition Twenty-four Pictures from the Wyndham Portraits of Children-The Observer Vint Collectio n Exhibition Young Contemporaries, 1950

Graphic Art, Books, Design, etc. Art for All An Experiment in Embroidery Desig n Blake's Illustrations to the Book of Jo b Fashion Plates from 1800 British Book Design . 1950 Third Exhibition of International Boo k Chinese Letter Papers Design Chinese Woodcut s Edvard Munch, Etchings, Woodcuts an d Danish Illustrators of Toda y Lithograph s Lithographs by Daumier and Gavarni British Needlework and Lace Designs and Engravings for the Eragn y Needlework, Pictures and Hanging s Press History of Shakespearean Production. 52 Reproductions and Photographs Animals in Art The Art of Landscape The Artist at Work Leaf and Flower Motifs in Art and Desig n History of the British Playhouse Drawings from Leonardo to Rembrandt Reproductions of Drawings from the (Reproductions) Chatsworth Collection Lino Cut s Christian Painters The History of Photograph y The Art of Drawin g Looking at Pictures Thirty English Colour Prints Sculpture by Giovanni Pisano (Photo - The Enjoyment of Life graphs of figures from the Baptistery at Festivals of 'Le Roi Soleil ' Pisa) Fifty Years of Modern Painting (UNESCO Reproductions of Drawings by Seurat Travelling Prints, 1st Set) Playing with Pattern Development of Modern French Paintings , Precursors of Impressionis m Parts I, 11 and III Theatre Guil d Reproductions of Paintings by Grea t Tone and Textur e Artists from the Fifteenth to the Toulouse-Lautrec Reproduction s Eighteenth Centuries Vincent van Gogh (Reproductions) The above exhibitions were shown in 280 different centres.

53

ART ART SOCIETIES IN ASSOCIATION WITH THE ARTS COUNCIL Ben Uri Art Gallery Midland Regional Group of Artists an d Designers

ARTS CENTRES AND CLUBS ARTS CENTRE MANAGED BY THE ARTS COUNCIL Bridgwater Arts Centre

ARTS CENTRES IN ASSOCIATION WITH THE ARTS COUNCIL Leek Arts Centre (Leek and District Arts The Assembly House Norwic h Club) Plymouth Arts Centre Netherton Arts Centre (Dudley Arts Club)

ARTS CLUBS IN ASSOCIATION WITH THE ARTS COUNCIL Abergavenny Three Arts Clu b Milford Haven Arts Clu b Beckenham and Penge Arts and Music Clu b Mynydd Mawr Council of the Art s Bilston Arts Club Newbury and District Arts Societ y Blandford Arts Clu b People's Theatre Arts Group, Newcastle- Boston Arts and Crafts Societ y on-Tyne Bournemouth Winter Gardens Society Newquay Society of Arts Braintree and District Arts Society Newton Abbot and District Society of Arts Bridgwater and District Arts Clu b Norwich Arts Federation Brierley Hill and District Arts Clu b Oakham and District Three Arts Society Burnham and Highbridge Society of Arts Peterborough Arts Council Chelmsford Union of Art Societie s Isle of Purbeck Arts Club Chesterfield Three Arts Societ y Rugeley Society of Arts Chippenham and District Society of Arts St. Austell Society of Art s Cromer Societ y St. Helens Society of Music and the Art s Dudley Arts Club St. Ives S.A.M .A. Exmouth and District Arts Society Salisbury and District Arts Society Falmouth Three Arts Committee Shirebrook and District Three Arts Society Frodsham Music and Arts Clu b Stafford and District Arts Counci l Hartlepools Arts Associatio n Stoke-on-Trent Arts Clu b Haslingden Arts Club Street Society of Arts Haverfordwest Arts Clu b Tamworth Arts and Science Club Haverhill and District Society for Music Taunton and District Arts Council and the Art s Tavistock and District Society of Art s Hornchurch, Romford and Upminste r Tees-side Guild of Arts Music and Art Society Truro Three Arts Society Hungerford Arts Club Wednesbury Society of Art s Huntingdonshire Music and Arts Societ y Weston-super-Mare Society of Art s Kettering and District Three Arts Clu b Whitby Three Arts Clu b St. George's Arts Trust, King's Lyn n Whitehaven and District Music and Arts Kingston-upon-Hull Citizens' Arts Leagu e Association Lancaster Music and Arts Clu b Isle of Wight Arts Associatio n Leek and District Arts Club Wolverhampton Civic Hall Arts Societ y Liskeard Arts Council Worcester S .A.M .A. Arts League of Luto n Worsley Arts and Music Society Marple People's Arts Group

55

(2) LIST OF ASSOCIATED FESTIVALS (MAY--SEPTEMBER 1951 ) *Aberdeen Festival *Inverness, Highlands and Islands Festival *Aldeburgh Festival of Music and the Arts King's Lynn Festival *Bath Assembly *Liverpool Festival *Bournemouth and Wessex Festival *International Musical Eisteddfod , *Brighton Festival Llangollen *Cambridge Festival *National Eisteddfod of Wales, Llanrws t *Canterbury Festival *Norwich Festiva l *Cheltenham Festival of British Con- *Oxford Festival temporary Music *Perth Arts Festival Colchester Festival Peterborough Arts Week *Dumfries Festival of the Arts *St . Davids Festival *Edinburgh International Festival of Music *Stratford-upon-Avon Festiva l and Drama *Swansea Festival of Musi c Glyndebourne Opera Festival *Three Choirs Festival, Worcester Hovingham Festival *York Festival *Official festival centres

56 REPORT OF THE COUNCIL' S COMMITTEE I N SCOTLAND

REPORT OF THE COUNCIL'S COMMITTE E IN SCOTLAN D HERE are few marked changes to record this year . Old ground has been held rather than new ground won. The Committee has been much preoccupied with preparations for Festivals of Arts to be held during the Festival o f Britain during the summer of 1951, and with a general expansion of its normal activities at that time, in additio n Tto a number of special schemes . More specific reference is made to these matters in a separate section. Obituary The untimely death of Dr. O. H. Mavor in January, 1951, deprived the Committee of an unique personality and a sage and genial advisor who, as a member of the Council and Chairman of the CEMA Scottish Com- mittee from its inception in 1942 until 1946, worked steadily to achieve the status and financial autonomy which the present Committee enjoys . Tribute to his work as the dramatist James Bridie has been paid elsewhere . As the mainspring of the Citizens' Theatre of Glasgow and of the Schoo l of Dramatic Art launched in the autumn by the Royal Scottish Academ y of Music, his lesser known work as an administrator was valuable beyond measure. Membership of During the year the following members retired under rota :-Mr. W. O. Scottish ., Mr. G. T. McGlashan, C.B.E., Sir Frank Mears, Committee Hutchison, P.R.S.A P.P.R.S.A., and Dr. J. R. Peddie, C.B.E. Dr. Ernest Bullock, C.V.O. (who received a Knighthood in the recent Birthday Honours), resigned o n account of ill health . In their stead the Committee welcomed Miss Isobel Sinclair, Mr . Hugh Marshall, The Reverend Dr. George MacLeod, M .C., Mr. Ellis K. Waterhouse, M.B.E., and Mr. William Wilson, R.S.A. Mr. George T. McGlashan, C.B.E., was appointed to the Council and reappointed to th e Scottish Committee . The Committee met eight times during the year . Sub-Committees for Visual Art, Drama, and Music, on which a great deal of preparatory an d specialist advisory work falls, met as often as required . A new Sub- Committee to deal with Finance and General Purposes was appointed and has already proved to be of value. 58 The Committee reorganised its financial administration at the beginnin g of the year and appointed a full-time book-keeper . All the records are no w housed with greater convenience at the Council's Scottish Office at 2 9 Queen Street, Edinburgh. Mr. David Griffiths resigned from the post of Concerts Organiser. With these exceptions, the senior personnel of the staff remained unchanged. The Committee received for its normal purposes during the year the sum Financ e of £47,000, and contracted with the Council for the latter to retain a further sum of £5,000 in respect of services received from the London Office . Financial resources at the disposal of the Committee were als o augmented by a special grant of £35,000 for purposes connected with the Festival of Britain season in 1951. By the end of the financial year th e whole of this special fund had been fully committed, though only some £1,800 had by that time actually been disbursed . The need to find £15,000 to sustain the newly formed Scottish Nationa l Orchestra, combined with the general rise in costs in almost every direc- tion, made the task of budgeting a difficult one . The deliberate absorption of the small reserve fund during the previous year also meant that there was no safety margin . Expenditure had, therefore, to be regulated with th e utmost care and certain economies were introduced . During the year 21 exhibitions were shown in Scotland. Apart from the Art few cities where there are art galleries in which exhibitions are regularly shown, exhibitions were held in 35 smaller centres and in a number o f them three or four exhibitions were arranged. In these smaller centres the work is made possible by the voluntary help of a few enthusiasts and b y the support of the local art clubs. In many of them a healthy wish to tak e a more active part in arranging exhibitions has developed and in a numbe r of cases attractive exhibitions have been planned locally with some guid- ance and financial assistance from the Committee . Series of lectures throughout the winter months were, as usual, arrange d for a number of Art Clubs and showings of films on art, arranged in co - operation with the Scottish Film Council, were a very successful addition. The Committee is indebted to the many artists and lecturers who hav e given their support and to the owners of private collections, in particular Mr. Lewinter Frank], of Belfast, who have generously lent their paintings . The year was remarkable for the construction or reconstruction of three Drama and theatres, as well as the adaptation of several halls which will in future have Ballet 59 facilities for theatrical work. In the majority of cases these schemes are being developed under the powers conferred on Local Authorities by the Local Government Act, 1948 . The most novel and adventurous of all is the result of imaginative private enterprise . While no part of the Council's funds is involved in these projects, their existence will in some respect s lighten the load which the Committee has had to bear in the past, becaus e of the possibilities which now open up of more frequent interchanges and slightly longer seasons for some productions, with the consequent benefit of spreading production costs . The Committee was pleased to be able to afford guidance on technical matters in some cases and in Ayr, Kilmarnock and Forfar to consult with the Local Authorities concerned, particularl y with regard to practical collaboration in presenting entertainments in th e new premises during the Festival of Britain season or on completion of the premises, as the case might be . Some progress was made in planning the further development of the premises of the Greenock Arts Guild which wil l ultimately have a theatre and concert hall with a seating capacity of som e 500, in addition to the accommodation for exhibitions and small-scale entertainments already available . The Committee welcomes all these developments which it regards as n o uncertain indication of the growing strength of the theatre in Scotland . In an effort to encourage repertory theatres to find new and adventurous material, the Council offered several awards for production of new plays , preferably by playwrights not yet of established reputation in the Londo n West End theatres . One of these awards was reserved for Scotland and wa s won by the St. Andrew's Play Club for its production of a new play b y Mr. A. B. Paterson entitled, William Brodie, Edinburgh. The author magnanimously returned the prize of £100. In the last Report, mention was made of the poor support received b y the Touring Company of the Dundee Repertory Theatre and the con- sequent curtailment of the spring season. It is pleasant to record a com- plete reversal of fortune for this Company during the ensuing autum n season when large audiences were consistently maintained . No call whatever was made on the guarantors ; in certain cases the surplus resulting from locally sponsored performances was shared with the sponsoring body and the Company carried forward a small surplus at the end of the season . The Committee's grant was reallocated for the Company's use during a special tour within the Festival of Britain season . The active interest of some 15 Local Authorities in the area served by the Touring Company ha s 60 been consolidated by means of regular consultations between these bodie s and the Board of Management of the Dundee Repertory Theatre . The seasons presented at the Gaiety Theatre, Ayr, by the Glasgow Citizens' Theatre Company also received excellent support, but, with these exceptions, all the Companies in Scotland associated with the Council ha d a difficult year from the financial point of view, though in other respects their work was commendable. The Perth Theatre Company's production s illustrating the development of the British Theatre with successive examples from Dekker to T . S. Eliot was a particularly praiseworthy effort and an apt precursor to the Festival of Britain . The honour of presenting new plays by Bridie and Linklater and o f reviving Hume's celebrated tragedy of Douglas for the 1950 International Festival at Edinburgh was given to the Glasgow Citizens' Theatre . All three productions were afterwards repeated at the Princess's Theatre , Glasgow. The direction of this theatre is now about to enter a new phase with the departure of Mr . John Casson for a new sphere of work in th e Australian theatre and the appointment of Mr. Peter Potter, formerl y Director of the Arts Theatre at Salisbury. By the time this Report appears, Mr. Potter's work will have been seen in Scotland at the Edinburgh Festival of 1951, where his production of Pygmalion, for Sherek Players Limited, is being given. The appointment of Mr. George Singleton a s Honorary Managing Director also commands confidence in the soun d running of the Company's business affairs . Tours carried out on a directly-provided basis and managed from the Council's Scottish Office were undertaken by the following : Ambassador Balle t Bertha Waddell's Children's Theatre Dancers from Vienna-Music and Dance Recital Lanchester Marionette Theatre Lee Puppet Theatre Music and Dances of Spain . In addition to regular seasons and tours carried out by the resident theatr e companies, a total of 90 performances in 52 places was given . It is necessary to point out that income from directly provided performances only appears under this section in the balance sheet . No income is shown against the major grants and guarantees afforded to the theatre companies associated with the Council, as their receipts do not form part of the 61 Council's income . Full details are shown in the accounts published annually by each company. Music The year's music was on the now familiar lines, but one event o f particularly outstanding importance, anticipated in last year's Report, must be recorded . This was the creation of the first full-time and permanent orchestra in Scotland, apart from that of the B.B.C. Larger in actual size than the Scottish Orchestra which, after a long and creditable record, gav e place in the autumn of 1950 to the Scottish National Orchestra, the ne w orchestra is already building up a fine reputation under Walter Susskind, who in latter years also conducted its predecessor . Its inauguration, wit h financial support from no less than 47 Local Authorities in addition to th e subvention referred to earlier in this report, is a notable achievement . Grants averaging £78 each were given to 15 musical societies, includin g the Glasgow Grand Opera Society which was thus able to have professional assistance in its ambitious productions of BoTto's Mefistofele and Jeanie Deans, with music by Hamish McCunn . The Saltire Society, several Cathedral music societies and clubs in Kirkwall, Kintyre, Inverness , Stonehaven and the Stewartry of Kirkcudbright, most of which should eventually qualify for help through the National Federation of Music Societies, are among those which received support in this way. In helping the County Music Committee of Orkney to buy an instrument of its own , another advance was made in the `battle of the decrepit piano' which al- most everywhere hampers the full expression of the Committee's musical work. During the year, over 140 directly-provided concerts were given in 7 6 centres, many of them in districts where the journey over several miles o f desolate roads, and a hard bench at the end of the journey, makes concer t going something of a physical endurance test. It is, therefore, scarcely surprising that while numerous in the autumn, audiences tended to gro w smaller as the season wore on and weather conditions worsened . Notwith- standing all these circumstances, the average attendance was higher tha n at similar concerts during the preceding year . Tours included a return visit of the Grand Opera Group which was even more successful tha n previously, and Musica da Camera which, despite its rather forbidding name, drew larger audiences on this, its fourth visit to Scotland, than o n any of the earlier occasions . For the majority of these concerts a large panel of Scottish artists, which continually receives additions, is drawn upon. For the sake of offering a variety of musical experience, however, 62 ensembles, of which there is a particular scarcity in Scotland, are engage d from elsewhere. It is impossible to assess the influence of this part of the Committee's work in creating an informed public for the more serious pleasures of music, but in the aggregate, it must be considerable. Several new arts associations were formed during the year . Of these, the Arts Clubs Falkirk Arts and Civic Council is a particularly lively and effective example. The Committee continued its practice of giving grants or guarantees against financial loss to some of the more established and purposeful o f these multifarious bodies, of which there are now about 30 in Scotland an d which have a significant part to play in creating the mental climate in which the arts can flourish . An increasing number of adventurous programme s is being built with the Committee to stand surety. Less than 50 per cent. of the small amount of money involved is likely to be called upon durin g the year under review .

FESTIVAL OF BRITAIN-SCOTLAND In Scotland, the Council's Scottish Committee was charged with function s corresponding to those of the Council in England and Wales . For this purpose it received a special grant of £35,000 and had the duty of drawing up for the prior approval of the Council a programme of wor k and estimates of the cost involved. Work was started in the spring of 1948, and increased steadily in momentum. The Committee was represented on the Festival of Britain Committe e in Scotland. This body, with the Right Honourable Thomas Johnston , P.C., as Chairman, had the responsibility of co-ordinating all the elements and agencies in Scotland concerned with planning the overall programme of Festival events as a whole . No special machinery was set up by the Arts Council's Scottish Com- mittee itself, but certain specific duties were allocated to eachsenior membe r of staff in relation to Festival Centres. As elsewhere, the Committee was concerned to enlist local effort as widely as possible in an unparalleled effort to show the best of Scottish achievement and capabilities in the sphere both of traditional and con - temporary practice of the arts. In so doing, it was part of the purpose t o win for the civilising arts something of the status and prestige mor e frequently in Scotland associated with feats of technology and sport, or with prowess in the sterner arts of war. 63 To this end, and in addition to the well-established International Festival at Edinburgh where a programme of even greater distinction tha n that of previous years was prepared, four centres were chosen for the presentation of arts festivals . The scope of these was more intimate and local than that of the major event of the season in the Scottish capital. The places selected were Aberdeen, Dumfries, Inverness and Perth. Further reference to these events is made below . The usual method of giving grants or guarantees against financial los s for purposes approved in advance was followed . For example, the Scottish Community Drama Association was invited to submit proposal s for a comprehensive programme of special activities and received £1,000 with which to put its plans into effect. A similar award was made to An Comunn Gaidhealach for Gaelic concerts . Theatre Companies associated with the Council received special grants for pre-production costs and running costs up to a fixed limit were also guaranteed in certain cases. Where established organisations already existed, such as those referred to in the preceding paragraph, the usual procedure of providing financia l buttressing was followed for festival purposes as for others in the ordinary course of the Council's transactions . Where no appropriate organisations for carrying out certain special functions were already in being, the necessary machinery was formed, notably the local organising committee s in the four new festival centres. In yet other instances, where neither of these courses could be followed, direct provision was undertaken . An example of this method was a week's season of ballet given at the Civi c Theatre, Ayr, by the Rambert Ballet . This was the first visit to the town o f a fully professional ballet company and audiences averaging 77 per cent . of capacity gave it an enthusiastic reception . An art exhibition and two concerts by the Scottish National Orchestra were also arranged in othe r premises in Ayr on the same basis, as were also many similar activities throughout Scotland during the whole of the Festival period from May to September. The Committee also exercised a certain amount of direct patronage in the form of prizes for productions of new plays, musical composition s and Scots poetry. A similar prize scheme for Gaelic poetry was prepared and carried through on behalf of the Committee by An Comunn Gaid- healach. A collection of 36 paintings by contemporary Scottish artists was also bought during the months preceding the opening of the Festival . 64 These works made a good impression at their initial showing in Glasgo w and later proved to be a useful and stimulating exhibition for the smaller centres' Festival celebrations. Few direct commissions were placed, but a stone carving by Mr . Thomas Whalen, A.R.S.A., will be a permanent feature of a new Health Centre at present under construction in Edinburgh . Two large mural paintings by students of the Glasgow School of Art als o embellish the Rutherglen Repertory Theatre to which extensive structura l improvements were made . Some of the finest paintings in the National Collection were permitte d temporary leave of absence from the National Gallery of Scotland, notabl y Constable's Yale of Dedham; the Gainsborough portrait of Mrs . Hamilton Nisbet; several important canvases by Ramsay, Raeburn and Reynold s and examples of the work of Turner and Richard Wilson. The Exhibition, which aroused keen interest, was shown in four centres in addition to being seen at the Aberdeen and Perth Galleries for the duration of the respectiv e Arts Festivals in these two cities . At Perth, as a pendant to the works i n public ownership, a remarkable collection was assembled from private sources in the County . The majority of these paintings had not previousl y been exhibited and included works by Gainsborough, Reynolds, Romney , Raebum, Ramsay and others. Many were of first importance and of particular relevance on account of a local interest of sitter or background . In addition to the fine collection of Spanish Paintings assembled for the period of the Edinburgh International Festival, a major exhibition com- prised of 63 paintings by the Scottish painters Ramsay, Raeburn an d Wilkie was shown from June to September in the National Galleries o f Scotland. In the Scottish National Portrait Gallery an exhibition of Scottish Literary Personalities of the Eighteenth and Nineteenth Centurie s ran concurrently with an exhibition of books and printing of the sam e period, in the National Library of Scotland . Mention has already been made of the five Scottish centres chosen t o present major Arts Festivals in the official programme of events . Of these, Edinburgh's annual Festival is the only permanent one in Scotland and ha d the distinction of being the only arts festival of international scope in a n otherwise predominantly British endeavour. The celebrations in Perth which lasted for three weeks (May 27th-Jun e 16th) opened the Festival season in Scotland . The home of Scotland's oldest existing professional theatre company and with all the assets of a festival city, it was the obvious choice for the first combined season by the 65 three resident theatre companies associated with the Council in Dundee , Glasgow and Perth itself. Three well-chosen and contrasting plays were presented in rotation for a fortnight and afforded an opportunity to assess the remarkable progress and development of the Scottish theatre in recen t years. Each company worked under its own director and relied wholl y upon the resources of its own actors, designers and technicians. Audiences found new delight in the Perth Company's beautiful production of Twelfth Night, honoured at one performance by the presence of H .R.H. the Princess Elizabeth; the vernacular speech inwhich a new Scottish dramatist, James Reid, had cast his whimsical story The Lass with the Muckle Mou' fell harsh but sweetly upon ears attuned to its daily use and won for the Citizens' Theatre of Glasgow an outstanding popular success, while the Dundee Repertory Company's elegant production of Goldoni's farce The Liar, in a translation by Grace Lovat-Fraser, was a delicious and witty entertainment suited to the festive occasion. A full range of activities including ballet, concerts of orchestral, chora l and chamber music, art exhibitions (described elsewhere), a rich display o f needlework and pottery, besides social, sporting and other events, com- pleted the programme. A recital of works by the Perthshire poet William Soutar, some of which were sung to music by Francis George Scott , deserves special mention as do also the first readings, arranged by th e Saltire Society, of some of the winning works of the Scottish Festiva l Poetry Awards. Record attendances were achieved, and results, though not yet finally computed, exceeded all expectations . Inverness, as the capital of the Highlands, concentrated principally o n traditional folk art, local crafts and industries and popular Highland entertainments. The programme was augmented by ballet, orchestral an d chamber music, an amateur production of Rob Roy and other artisti c events. The Dumfries Festival was, in contrast, a Lowlands celebration . It included many traditional local ceremonies and a number of events hinge- ing around the personality of Robert Burns . An important occasion was the opening by H.R.H. the Duchess of Gloucester of the Gracefield Arts Centre. Limitations of space preclude detailed reference to the many othe r attractive features of this Festival and to that at Aberdeen which- Edinburgh apart-was possibly the most comprehensive of all the Scottis h Festivals. 66 The Arts Festivals in these five official centres were undoubtedly effectiv e and fully justified the money and effort put into them . Each received wide notice in the press and evoked keen interest. Abundant evidence of publi c support is evinced by the attendance figures at every type of performanc e or display and in many cases full capacity attendances were reached. The largest single effort so far made in art affairs in five of Scotland's chie f centres of population is one which should have far-reaching results . Some evidence of lasting benefit is already beginning to show . Many small communities celebrated the Festival with characteristi c ceremonies and colourful local customs, but comparatively few took advantage of the Committee's offer of artistic enrichment at the professional level of entertainment. One particularly noteworthy exception took place in the tiny and remot e West Highland community of Duror and Kentallen . Plans as ambitious and interesting as any of those shaped in the `official centres' were formu- lated without any official prompting and almost every member of a population numbering 260 played an active part in the West Highland Festival. Apart from displays of local crafts and industries, the chief events were the production of two plays-The Lost Cause, by Compton Mackenzie, and The Appin Murder specially commissioned from Angus MacVicar, both dealing with events of local history. Though strengthened by assistance from students of the College of Dramatic Art these produc- tions represented a true community effort impressive in itself as much as i n the considerable measure of interest aroused . It had a shoe string for money and that rare quality of ingenuity which takes minor miracles o f improvisation and organisation as a matter of course. A grant of £100 made by the Committee and matched by one of the same amount from the Argyllshire Education Authority was money well spent . Elsewhere one or two independent efforts such as those at Montrose an d Shotts received some financial support from the Committee, but, on the whole, Scottish communities showed a certain reluctance to accep t official proposals and were hesitant to propound their own . An exception to this general rule was afforded by the Corporation of Glasgow whic h allocated a generous sum to its own celebrations . These included a special production by the Citizens' Theatre of a new play Mary of Scotland, by the Scottish dramatist Robert MacLellan, two superb exhibitions of th e Burrell Collection and Hamilton Bequest respectively, and other out - standing events . 67 So far as the immediate purpose of the Festival was concerned, i t undoubtedly achieved its object. What was done was well done and not overdone; new interest was aroused, new allies for the arts were won and new opportunities turned to advantage . At the outset, the task of persuading Local Authorities to risk not only loss of money but also of civic face in what seemed to many a crazy ventur e was in some cases one of difficulty . It was disappointing to find in them the attitude still persistent that the arts are alien to the majority, an expensive hobby of the few and, as such, of trifling importance in the affairs of th e community at large. The generous support and promise of personal visit s by members of the Royal Family was responsible more than any othe r single external factor for overcoming prejudice and uncertainty in the early days of planning. In the event and in the face of ample public support , earlier misgivings were swept away and all worked strenuously in commo n cause. Whether, looking further ahead, there will be any measurable gain datin g from 1951 it is impossible at this juncture to tell . Much may well have bee n done to destroy belief in the artificial divisions of community interests an d it is reasonable to believe that many found themselves enjoying ne w msthetic experiences. If, as a result, Local Authorities are willing t o exercise more courageously their powers and responsibilities for cultura l recreation, the artistic life of the country as a whole must benefit. Broadly speaking, the physical hindrances to any widespread advance i n Scotland are chiefly inherent in the dispersal of population in small communities provided with a single public hall of modest size and usuall y with inadequate facilities for art presentations. Although in few cases, work of reconstruction or adaptation for art purposes of existing premises has been hastened or facilitated, so far no permanent new buildings are contemplated as an outcome of the Festival . There is, for example, no further move to provide a gallery of modem art, although a fund exists for the acquisition of contemporary works. Until lee-way in housing is made up and economic conditions improve these drawbacks have to be accepted. The effects of the Festival upon the work of the Arts Council in Scotland are not yet clearly discernible. Assuredly a tremendous effort was made , full use made of artistic resources in Scotland and an incalculable amount of extra work successfully accomplished. The results of this work and the experience gained in the course of it have yet to be assessed and require th e 68 most careful study . One thing clearly emerges, however, augmented public interest in the arts is an asset to be realised . The task confronting the Committee is how to devise ways to grasp, maintain and further to increase this interest. It is an opportunity which calls for a bold and imaginative approach. In the meantime the Committee has the satisfaction of knowing that far from standing where she did when the Festival of Britain was but an idea, Scotland has made a not unworthy contribution to the Festival of Arts in 1951.

69

THE ARTS COUNCI L APPENDIX I INCOME AND EXPENDITURE ACCOUNT OF THE COUNCIL' S EXPENDITURE 1949/50 MUSIC Grants and Guarantees : £8,609 Orchestras £10,000 0 0 1,257 Music Societies 1,111 8 4 9,708 Directly Provided Concerts 6,402 1 1 £17,513 9 5 DRAMA 10,942 Guarantees 8,415 13 9 1,501 Tours 911 18 1 - 9,327 11 1 0 BALLET - Tours 2,813 1 7

ART 1,174 Grants 425 0 0 7,106 Exhibition Expenses 3,638 10 0 - 4,063 10 0 - ARTS CLUBS 200 0 0 - ARTS CENTRES, BUILDING AND EQUIPMENT 6,275 0 0 ADMINISTRATIO N 5,135 Salaries and Wages 5,310 0 2 960 Travelling Expenses 1,264 9 1 330 Rents, Rates, Insurances, Heating and Lighting 489 1 8 1,124 Publicity and Entertaining 363 19 9 1,246 Telephone, Postages and Stationery 709 19 4 - 8,137 10 0 FESTIVAL OF BRITAIN 195 1 Music Grant 300 0 0 Drama Grant 1,000 0 0 Art Centres 250 0 0 Expenses 278 15 9 - - 1,828 15 9 BALANCE unexpended as at 31st March, 1951 35,913 11 8

£49,092 £86,072 10 3

70

OF GREAT BRITAIN

COMMITTEE IN SCOTLAND for the year ended 31st March, 195 1 INCOME 1949/5 0 £42,000 GRANT Headquarters £47,000 0 0 Headquarters (Festival of Britain 1951) 35,000 0 0 ---- £82,000 0 0 MUSIC Receipts from Directly Provided Concert s 2,560 less Local Expenses 1,371 16 4

DRAMA 832 Tour Receipts less Local Expenses 711 6 7

BALLE T - Tour Receipts less Local Expenses 1,332 16 7

ART 729 Exhibition Fees and Catalogue Sales 573 11 1

GENERAL - 192 Donations and Interest 82 19 8

BALANCE Being excess of Expenditure over Income for the 2,779 year ended 31st March, 1950 - - -

£49,092 £86,072 1U 3

7 1

BALANCE SHEET LIABILITIES CAPITAL ACCOUNT - Transfer from Income and Expenditure Account £1,564 18 0 £7,840 GUARANTEES AND GRANTS OUTSTANDING 8,760 10 4 2,240 SUNDRY CREDITORS 628 8 10 INCOME AND EXPENDITURE ACCOUN T 4,099 As at 31st March, 1950 1,320 3 0 - Add unexpended balance as at 31st March, 1951 35,913 11 8 14,179 37,233 14 8 Less transfer to Capital Account, being purchase of pictures during year from Festival of Britain 1951 grant 1,564 18 0 - 35,668 16 8 Less excess of Expenditure over Income for the 2,779 year ended 31st March, 1950 - - -

£11,400 £46,622 13 1 U

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 audi t that in my opinion this Account and Balance Sheet are properly drawn up so as to exhibi t

72

AS AT 31ST MARCH, 1951 ASSETS - PICTURES AT COST £1,564 18 0 £573 SUNDRY DEBTORS , 308 0 8 CAS H 11,393 On Deposit Receipt 36,478 15 0 On Current Account 8,206 0 2 66 In hand 65 0 0 44,749 15 2 12,03 2 632 Current Account overdrawn 31st March, 1950 - - -

Chairman of the Scottish Committee : JAMES WELSH . Secretary-General: W. E. WILLIAMS .

£11,400 240,OLL 1 .3 iv

a true and fair view of the transactions of the Arts Council's Committee in Scotland an d of the state of their affairs . (Signed) F . N. TRIBE , Comptroller and Auditor-General. Exchequer and Audit Department , 7th September, 1951 . 73

APPENDIX II CONCERTS BY THE SCOTTISH NATIONAL ORCHESTRA Performances were given by the Scottish Orchestra at the following places :- Aberdeen (6) Dundee (7) Glasgow (50) Kilmarnock (2) Paisley (1 ) Ayr (2) Edinburgh (25) Greenock (1) Kirkcaldy (1 )

NOTE. The figures in parenthesis denote the number of concerts given at each place . In addition 1 6 Children's concerts and two broadcasts were given during the season . APPENDIX II I ASSOCIATED THEATRE COMPANIES IN SCOTLAN D Citizens' Theatre, Ltd ., Glasgow Dundee Repertory Theatre, Ltd . Perth Repertory Theatre, Ltd .

APPENDIX IV EXHIBITIONS HELD IN SCOTLAND DURING THE PERIO D APRIL 1950-MARCH 195 1 Royal Scottish Academy-Selections fro m *National Book Leagu e the 1949 and 1950 Exhibitions Edward Baird Memorial Society of Scottish Artists-Selections fro m Paintings from the Collection of J . W. the 1949 and 1950 Exhibitions Blyth The Artist at Work Rembrandt Architecture in Scotlan d '47 Group, Aberdeen Modern Paintings from a Private Collection *Portraits of Childre n Burrell Collection *Marion Richardso n The Scottish Scene *Society of Mural Painters Bedford Collection *History of the British Playhouse *Young Contemporaries Ulster Paintings Modern French Painting s *William Rothenstein Memorial

*H .Q . APPENDIX V ARTS SOCIETIES ASSOCIATED WITH THE COUNCIL'S SCOTTIS H COMMITTEE AS AT MARCH 31ST, 195 0 Alford and District Arts Club Greenock Arts Guild Arbroath Arts Society Inverurie Arts Clu b Arts Association of Lewis Keith ahd District Arts Associatio n Arts Committee of St. Andrews Kirkwall Arts Clu b Association of Selkirk Clubs and Societies Peterhead and District Arts Society Duns Arts Guild Tain and District Arts Associatio n Forfar Arts Guild Troon Arts Guil d Galashiels Arts Club Turriff and District Arts Club

74 ILLUSTRATIONS Cambridge Festival : performance of th e London Philharmonic Orchestra under Sir Adrian Boult in Nevile's Court, Trinity College (Photo: Van Mahan)

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; uttna Scenes front four Fc,tiuk AHMF u ." : The Grenadier Guards Nand playing at tho Ald,hurgh I-est ival ; «ii (j%% .blit hael Rrdgravr reciting t rt-r : The Regenev Pxhibition at Brighton ; AHOVr' : Thr York Cytle of .blistery Plays Garrirk ' s Ode to 5hakespearv at Stratford-upon-Avo n (Photos : B . W . Allen . W`Illlam Gordon Dash . Will Acton and The Birmingham POrt)

Larry l-r.z l \its Thva[ n .,luction of c)u r by Ronal- ,

i A1raNa ~ 5erllahur)Jutrnurf l

Anenk RICIIt : King' s Lynn and Cambridge Ivsti%ak . 'Elie IInoducti-m of Dooor ldrrdu, bThe VSarloeye Sm-iel% „I amateur actor s (Photo . Ranm,;;• & Musprorq

114 t rr%% [ r.rr : Membel's nl th e w ,4 The ,Hrd .ummer Night ' , l)rram . During ; an intmal at tlu- Oren- .fir Thcalre , Regent , . Marl: i Phula : KO'slultr Prerr Agency . Lid. )

iwtow kiwis : The Natinna l f isleddrod, l lant-mit . Gir t rh the Nlamew Car, by Brvnda e'hanilxrlain, which wa s I,, ,u• ht by the council " 11 ri .h ( .m1111itice . (Pholo : Y Cymru) 71-1 "4 . t ~

VA"%F ttrt : r,1"W) \ati nal OperaCsm[fatn . -I Lcpr-.~1.- . nuim, Nsith the propert}' master, Cecil BriSge s (Photo : PfuFiun Prr'n . 1 r d

Aw,%t. Rican: St . David's I'cstikal . Ajumbers 4 the cast . .I bw i Sant I?UtlidC the Cathedra l (Pilot" . ti.,,~N+ Wane fce-nb+ . P+u'r• .5wpn re~il

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N : . James 's Plarcrs : Sir L.aureme ()li%ier anti Visicn Leigh John ( .iiclgud and Diana Wpn. and as Leone s anti Heremion e as Anl,my and l Ienpa[ra (Photo : Ammom AfrBeun) in Tier 41 'int[r ' i Tule (Photo : Aeirus XfrBeae r

ntluss : The OId Vit . ru is Pegge Asht ru(r as Vida in hrel/th 'Night : ait;Hr : Alt•t (Alines a% Ilenrs % (Pholos : John virAees)

I hr (JI(I Vir, aunvf 1 • . IL : ., re, of Id "tndr. . r, prralucrd by Flugh ltuns ; uiIow : Rurth !. rrn la,r, produced 6v George I k r 611 (Photo: John 1 lek

Rcligioas Drama Society : A Sleep ?f Prisoners, commissioned from Christopher Fry and pr,aluc-r by Michael hlatO%Aai i

imuw : Associated Artists, Lid . Man and Sciperman, prndticed by John Clcmcnis [Pholox : Houston Knge"

Sherek Placers, Ltd . : Alec Guinness as Hamlet and Ingrid Burke as Ophelia (Photo : Hooston Rogers )

Three Sw rs Tennent Production, Ltd . t etT : Celia johnson, :Margaret Leighton and Renee As}tcrsmm in Chehuv's utu)"c ; tPhoro, Angus MCDemn xuarr : Edith 1'eans and S N hil Thurndike in Waters of the Moon

i mvni (iardcn Opera C' 'Inpany : The Pdgrrm ' s Pmdro% . hr Dr . R . Vaughan 14' illhms- " The Vl,msc Beauli(ul " f Plu>h~ : .4rrgrr .r Nrllra n )

ui rnr : ti .Hller ' • WAN ( )ill-ra ClIMPany- . Uidn and lenen ., µ. ith Fleanor I I-mm mi .ta I.)irlrr 4Plrnra : Dem-dr Marne a)

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I ng I kh Opera Gri its p! D edip and icneas . r" I isvi I by N~njamiri Britten, %% i I h (anty I %Am as D0 .1 Oplaw, Rog,, Wood s llwfl l ustElm : C .1111vrkury festival . lile llan -jr"r?) tismfstksiqsnvtl frimi Awimt lfispkin .ti to i lil-irt-It, bv Chri,t,ipbvi tPh .p' R . & IV Frs6-Aluorr, 1*1. )

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l rnd"n Opera Club : .!lirhuef and 1 r,+rn e+, an F lieabohan jig, in the Grem Hall, Hampton Court i 1'k„1„ 1 . ir' . Dehrnhant)

Carl R oi l 111x-ra L -rp .nn . John I,artwn, CummicionVd from 6VIIEg 1 14 .+,l to ,+ IIh„ 1- l l . William lJnrd f Ph ,ro H .4ru! £rrR+ re 11-1d, Sadler's Wells Ballet : Tirevas, commixvinnerl fermi Constant Lambrrt, with chureograph5 hs I redurick 1 .111 m (!'hat" : Royal Wo(hl ) BELOW Ltcrr : Sadler's Wells Theatre Ballet . Harlequin in April, commissioned from Richard Arnril, with ch"rrograph} h S John Cra» ko (Photo : Barnn t HtI OW RtcltT : The Group Theatre . Sally Gilmour in Orlando ' s Silver 11'edding, with chrlreograph% be Harold Turne r (Photo: Gordon Anthorr) Perth Fcaival - Dow Ive Repcrton Theaire's production of Goldoni' q The Iiar, prtAticcd by A . R . What mor e

l', nnl, . ;, .' ., iI .R .fI . Prince+ . Ilirabet h attending thr Pert h 'Theatre Company ' s production of Tme7lzh \'igh r (Pbnfo : Punder Courier and Adwr(isrr)

1,11,11,,Ull,,,II,1, J h -,I PdilITI0', .)l III , (ON01 i~ 1 . . div nexbibitiori "flarld 11! : . . T :l 3ar~ „ f VIgi K .T .

Fv,(i%jI of Ai I cm bN Lilr.i K-1i.md H .m i hi, -,occti' m at R "'we prio n

% ol ( . .k% I I it, h% \1,11, R k lion,-,h Powo,,"?" I r,,n ) the C,mmil's S,,-11i,h Comillittee (Photo Fhr Ideal Studfa) I At 4x11% Bltt AKS HIS 1A1I, by W, it - ~i .kert, fr,tu 13rvrr h htiw d, I915 - 5o . Nrrorld lnrhvhW_i • Lcnt by th e Adams Galler y

REtrrW : A11 CHA1' ROT -11 (SHOE' WIN - tro%%, DIEPPE . t,J J2 Y . by Be n Ni t holsim, from Br I mh Pv$nrrn}j . 447S-¢ r , firs[ Amholoyl . Lent by Manrhe4trr Art Gallery'

.u''' . cf Ih .' l .ll r 11-11 %%tIIUING nt sll i'Ht y MAKINGIIAM AND MARY COX, hY Willianl klligarlh, ll'1a11 thy' rxhibil6m 4 hi, jl CiAllrrc . I-t-nt by the h1rtroPolitan MllSMI"I -d Art, New York .6ajjoaJ iy ma-1 uz;llrD luunc, slla aye jr sAupu!rd riadmai s!y jn unp!gry, ., aye cu4, .j1 'al r 1H '~'rrll! .41 xq somma Ni smvmNvmo aNv sNCK sni ►itr.%% o%l 1o~tt1 .I,NII+~ .~

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Itec 1 .IN IN4 FIGUrir tq ;o! ;r, b` licnry M011FI, curnotiasioncd h~ the Council and r%hibitc,l at the South Ban k Fahihitin n nrt nw : YOUI It RDVAMcFS, by ]acob Epstein, commissioned by the G>uncil and exhillhed it the SMIth Bank Eshihith m (Photo : .4nthom Panting) 1$ k) 1111 ;11RT . }, 4 Tnulnuav-I .auir-, lr,rm Tnuharnr-lourrrc-Pnnr, and Pnurr, fr„m i8,• (harell [„1lr,riw>

H E A D Q U A R T E R S S T A F F 4 St. James's Square, London, S. W. 1 . Whitehall 973 7 Secretary-General: W. E. Williams, C.B.E. Deputy Secretary : M. J. McRobert Assistant Secretary : Eric W. White Music Director: Drama Director: Art Director : John Denison, M .B.E. John Moody Philip James, C.B.E. Assistant Music Directors: Associate Drama Director : Assistant Art Director : Miss Mona Tatham Charles Landstone, O .B.E. Gabriel White tan MacPhail Accounting Officer: E. L. Hor n Treasurer : Miss H. Kran z

F E S T I V A L O F B R I T A I N Arts Council Representatives : Huw Wheldon, M .C. Duncan Guthrie R E G I O N A L D I R E C T O R S ENGLAND Regions GREATER LONDON, KENT, MIDDLESEX, SURREY, SUSSE X Director : Mrs . Anne Carlisle, 4 St. James's Square, London, S.W.1. (Whitehall 9737 ) BERKSHIRE, BUCKINGHAMSHIRE, DORSET, HAMPSHIRE, ISLE OF WIGHT, OXFORDSHIR E Director : Gerald McDonald, 14 Portland Terrace, Southampton. (Southampton 76539) EASTERN COUNTIES : BEDFORDSHIRE, CAMBRIDGESHIRE., ESSEX, HERTFORDSHIRE, HUNTTNG- DONSHIRE, ISLE OF ELY, NORFOLK, SUFFOL K Director: W. R. Fell, 2 All Saints' Passage, Cambridge . (Cambridge 3165) WESTERN REGION : CORNWALL, DEVON, GLOUCESTERSHIRE, SOMERSET, WILTSHIR E Director: Cyril Wood, 20 The Mall, Clifton, Bristol . (Bristol 384I4-5) MIDLANDS : HEREFORDSHIRE, STAFFORDSHIRE, SHROPSHIRE, WARWICKSHIRE, WORCESTER - SHIRE Director : Tom Harrison, 7a Newhall Street, Birmingham . (Central 2591-2) NORTH AND EAST MIDLANDS : DERBYSHIRE, LEICESTERSHIRE, LINCOLNSHIRE, NORTHAMPTON - SHIRE, NOTTINGHAMSHIRE, RUTLAN D Director: Keith MacGregor, Westminster Bank Chambers, Angel Row, Nottingham . (Nottingham 42766) NORTH-WESTERN COUNTIES : CHESHIRE, CUMBERLAND . LANCASHIRE, WESTMORLAND Director : J . L. Hodgkinson, lb Cooper Street, Manchester . (Central 8021-2 ) YORKSHIRE (EAST AND WEST RIDINGS ) Director: H. D. Fayers, 65-69 Cabinet Chambers, Lower Basinghall Street, Leeds. (Leeds 32904-5 ) DURHAM, NORTHUMBERLAND, YORKSHIRE (NORTH RIDING ) Director: Donald Mather, Bessy Suttees House, Sandhill, Newcastle-upon-Tyne, 1 . (Newcastle 20477) SCOTLAN D Director : Dr. George Firth, 29 Queen Street. Edinburgh. (Edinburgh 34635-6) Deputy Director: Mrs. S. Shirley Fox WALES Acting Director: Miss Myra Owen, 29 Park Place, Cardiff. (Cardiff 5475 ) North Wales Office: 1 Central Arcade, Hope Street, Wrexham . (Wrexham 3602 )

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