Council The Lord Goodman, Chairman* Professor Sir William Coldstream, CBE, DLitt, Vice-Chairman ' T . E . Bean, cnE • Colonel .William Crawshay, DSO, ERD * Miss Constance Cumming s C. Day Lewis, CBE " Professor Gwyn Jones, CBE * Professor Anthony Lewis* Colin H . Mackenzie, CMG * Henry Moore, OM, CH, DLitt, ARIB A Mrs Myfanwy Piper • Dame Jean Roberts, DBE, DL, J P The Earl of Snowdo n Professor D . Talbot Rice, MBE, TD, DLitt, FS A Hugh Willatt • John Witt' 'Member of Executive Committee Scottish Committee Colin H . Mackenzie, CMG, Chairma n Colin Chandle r J . B . Dalby Ian Finlay, CB E G . E . Geddes Esme Gordon, ARSA, FRIAS, FRIB A T . Grainger-Stewart, CB, MC, TD, D L The Hon . Mrs Michael Lyle Dr J . A. MacLea n Dame Jean Roberts, DBE, DL, JP George Singleto n Professor D . Talbot Rice, MBE, TD, DLitt, FS A Cedric Thorpe Davie, OBE Welsh Committee Professor Gwyn Jones, cBE, Chairman Professor W. J . G. Beynon, CBE, PhD, DS c Colonel William Crawshay, DSO, ER D Lady Ruth Eldrydd Davies S . Kenneth Davies, CBE Sir Emrys Evans, LLD Alfred Francis, OBE Alex J . Gordon, Dipnrch, ARIB A Josef Herma n A . K . Hollan d Iorwerth Howell s David Dilwyn John, CBE, TD, DSc, FM A J . Gwilym Jone s Alun Llywelyn-Williams Kenneth Lovelan d Professor T . J. Morgan, DLit t Robert E . Presswoo d Clifford William s Staff-Headquarters 4 St James's Square, London, S .W.1 (Whitehall 9737 ) Secretary-General: Nigel J . Abercrombie Deputy Secretary and Finance Officer: M. J. McRobert, CBE, FC A Art Director : Gabriel White, CBE Drama Director: J . L . Hodgkinson, OBE Music Director : John Cruft Assistant Secretary : Eric W . Whit e Accountant : Anthony Field, AC A Scotland 11 Rothesay Terrace, F,dinburgh 3 (Caledonian 2769) Director : Dr George Firth, ODE Director-designate : Ronald Mavor Deputy Director : Donald Mather Wales Hoist House, Museum Place, Cardiff (Cardiff 32722) Director : Dr J . R . Webster The Arts Council of Great Britain
20th Annual Report 1964165
4 St James's Square London SWI
Contents
page 5 Introduction 11 The Event of the Yea r 20 Committee on the London Orchestra s 24 Recovery in the Theatre 32 Festivals 38 Literature (including Poetry ) 43 Scotland 55 Wales Appendices 63 A Music, Opera and Balle t 75 B Drama 84 C Art 87 D Poetry 90 Accountant 's Notes 92 Annual Accounts
The reproductions on pages 9, 19, 23, 31, 37, 41, 53, 61 and 89 are from drawings and etchings by Anthony Gross . The portrait of Lord Cottesloe is from a photograph b y Raymond Garnett . The caricature of Lord Goodman is reproduced from the origina l drawing by Nicolas Bentley .
Introduction
John Fremantle, 4th Baron Cottesloe, G.B.E., T.D., succeeded Si r Kenneth Clark, C .H., K.C.B., as Chairman of the Arts Council in April 1960 . Anywhere but in England, prowess as an oarsman and rifle-shot , coupled with the ability to direct the affairs of the Port of Londo n Authority, might be thought rather anomalous qualifications for such a n appointment, even though Lord Cottesloe 's tact, judgment and practical wisdom had been abundantly shown in the comparable posts of Chairman of the Trustees of the Tate Gallery, and Chairman of the Committee on the Export of Works of Art. On his departure at the end of his term of office, in April last, it prove d that no Chairman had been more sincerely regretted : he had won the warmest affection as well as the respect of his colleagues and the staff of the Council. His unique personal quality was never more conspicuous than in the times of crisis which occurred intermittently in his quinquennium, whe n he rallied and guided the Council and its servants with indefeasible equani - mity: but another more tangible service he rendered us consisted in a series of speeches delivered in the House of Lords, which are among th e most valuable documents in our domestic files . The Arts Council has indeed been fortunate in having Lord Cottesloe at its head during the period when-as the ensuing pages show-develop- ments took place which amount to a revolution in its history. A warm welcome is extended to his successor, Mr Arnold Goodman - created Baron Goodman of the City of Westminster in the Queen' s Birthday Honours-who was appointed Chairman of the Arts Council o n May 1st, 1965 . Mr Goodman had already served as Chairman of the
Committee on London Orchestras, whose report the Arts Council had forwarded to Miss Jennie Lee, M .P., Parliamentary Under-Secretary of State at the Department of Education and Science the previous day . Council The term of office of the following members of the Council came to an end on December 31st, 1964:
Dame Peggy Ashcroft, D.B.E. Mr T. E. Bean, C.B.E. Professor Sir William Coldstream, C .B.E., D.Litt. Mr C. Day Lewis, C .B.E. The Lady Hesketh Councillor J. D. Kelly, C.B.E., D.L., J.P., C.A. Mr John Witt
Dame Peggy Ashcroft, Lady Hesketh and Councillor Kelly were no t eligible for reappointment. Dame Peggy and Lady Hesketh had both served on the Council since the beginning of 1962 ; and Dame Peggy had previously been a member of the Drama Panel . Councillor Kelly had been a member of the Council and had served on the Scottish Committee for a period of five years . The Chancellor of the Exchequer reappointed Mr Bean, Sir William Coldstream, Mr Day Lewis and Mr Witt to serve as Council members for a further period, and appointed Miss Constance Cummings, Mrs Myfanw y Piper and Dame Jean Roberts, D .B.E., as new members of the Council . Vice-Chairma n The Council reappointed Sir William Coldstream to serve as Vice- Chairman for a further period of one year ending December 31st, 1965 . Executive Committee The Council appointed or reappointed the following to serve as member s of the Executive Committee and, where indicated, as Chairmen of th e Panels shown against their names, for the period ending December 31st, 1965:
Mr T. E. Bean, C.B.E. Professor Sir William Coldstream, C .B.E., D.Litt. Colonel William Crawshay, D.S.O., E.R.D. Mr C. Day Lewis, C.B.E. (Poetry) Professor Gwyn Jones, C .B.E. Professor Anthony Lewis (Music) Mr Colin H. Mackenzie, C.M.G. Mr Hugh Willatt (Drama) Mr John Witt (Art)
Honours In addition to Lord Goodman's elevation to the Peerage, mentioned above, we offer our congratulations on the following awards : New Year Honours 1965 Professor Gwyn Jones, Chairman of the Welsh Committee (C .B.E.) Miss Jane Edgeworth, British Council representative on the Drama Panel (M .B.E .)
Birthday Honours 1965 Ian Finlay, a member of the Scottish Committee (C .B.E.) John Neville, a member of the Drama Panel (O .B .E.) D. P. Lund, until lately Accountant to the Arts Council (C .B.E.) Douglas Craig, Artistic Director of `Opera for All' (O.B.E.)
The Council records with deep regret the deaths of Ernest Boden Obituaries (January 1965); the Viscount Mackintosh of Halifax, D.L., LL.D. (December 1964) ; and Gordon Thorne (May 1965) . Mr Boden retired from membership of the Scottish Committee o n December 31st, 1962, after nine years' service . For more than three years he was also a member of the Council . Lord Mackintosh was a member of the Council from January 1959 to December 1963 . Mr Thorne joined the Music Panel in January 1964 and was still a member at the time of hi s death . On March 31st, 1965, Mr D. P. Lund, C .B.E., F.C.A., resigned the posi- Staff Changes tion of Accountant which he had held, on a part-time basis, since October 1st, 1951, in order to devote himself wholly to the affairs of the Royal Opera House, Covent Garden, of which he is Secretary and Accountant . His Assistant, Mr Anthony Field, A.C.A., has been appointed Accountan t in his place . Mr John Denison, C .B.E., was appointed Director of Music on May 1st , 1948 . In August 1965 he left the service of the Council in order to take u p an appointment as General Manager of the Royal Festival Hall . Mr John Cruft, formerly Drectori of the Drama and Music Department of th e British Council, has been appointed Director of Music in place of M r Denison. We extend our thanks to Air Lund and Mr Denison and offer our goo d wishes for the future . We welcome Mr Cruft as a new member of the staff and congratulate Mr Field on his promotion . Dr George Firth, the Council's Director for Scotland, is due to retire during the year 196566 . Mr Ronald H. M. Mavor has been appointed a s his successor . Ivi
Secretary-General
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~~l! I 1 cb% . ~ I I The Event of the Year
When State of Play was published-in October 1964-we knew well enough that the Arts Council was at a turning-point in its affairs . The old Chinese curse was upon us : `May you live in interesting times ' . In ever y field of our action there were evident symptoms of abounding vitality . Looking back at the year as a whole, from April 1964 to March 1965 , the impression is found to be fully confirmed . New productions of Das Rheingold and Die Walkiire enabled the Royal Opera House to complete its three-year task of re-staging Der Ring des Nibelungen and thus present performances of two complete cycles at th e opening of the autumn season . Other operatic highlights of a period which included three months of closure for reconstruction were the Giulini / Visconti production of Il Trovatore and the Solti/Hartmann production o f Arabella . On tour, when the House was dark, the Opera Company gav e Manchester and Coventry further experience at first-hand of work at thi s international standard. Important additions to the Royal Ballet 's reper- tory included Ashton's The Dream, Macmillan's Romeo and Juliet and Madame Nijinska's personal supervision of a revival of Les Biches in Marie Laurencin's sets. During the closure period the Royal Ballet 's larger company played a season at the Theatre Royal, Drury Lane . The adventurous policy of Sadler 's Wells bore rich fruit, notably in productions of The Makropoulos Affair and The Mines of Sulphur, both of which have since been acclaimed-and supported at the box office- even better on the Continent (where they are supposed to order things better) than at home. The Royal Festival Hall re-opened in February after an extended
11 closure during which major additions and alterations to the building were undertaken to complete and improve a scheme only partially complete d in time for its first opening during the Festival of Britain in 1951. The Royal Liverpool Philharmonic Society marked its 125th anniver- sary with special emphasis since it was prevented from celebrating its centenary which occurred during the darkest days of the Second Worl d War. Just as Benjamin Britten's 50th birthday on November 27th, 1963, ha d been celebrated on a generous scale, so Michael Tippett's 60th birthda y (January 2nd, 1965) stimulated a further demonstration of the richnes s of our living heritage of contemporary musical creative achievement. The first full year's operations of the National Theatre at the Old Vic and in the provinces were a triumphant vindication of the steadfas t faith (and deferred hope) of all those who worked during half a centur y for the realization of a dream. The company's artistic reputation was established by the superlative quality of such productions as Othello, Th e Crucible and The Royal Hunt of the Sun. On another plane, bookings at the Old Vic throughout the year under review were running at an average of 89 per cent of capacity . The Royal Shakespeare Theatre astonished the world with the Seve n Histories of Shakespeare and the Marat-Sade of Peter Weiss. The new Playhouse at Nottingham enhanced its reputation and its box-oficf e rating with 85 per cent of capacity . Bristol was equally good ; and smaller - sized but high-powered ventures at Leatherhead, Salisbury and Leicester played almost to capacity throughout the year. In the field of the visual arts, over 40,000 visitors went to the Tat e Gallery for the retrospective exhibition of the work of Joan Miro, and nearly 90,000 for the exhibition of Peggy Guggenheim 's collection-with who can estimate what profound and far-reaching consequences for th e appreciation of modern painting and sculpture in this country? Historical exhibitions attracting international interest included Hittite Art (at th e Royal Academy's Diploma Gallery) and Eugane Delacroix (at the Edin- burgh Festival and the Royal Academy), as well as the widely appreciate d Orange and the Rose at the Victoria and Albert Museum, for which we wer e glad to collaborate with the Museum authorities and with the Nether - lands Government. Colourful and scholarly presentations of Art Nouvea u in Britain, Peruvian Gold, and the painters of the Briicke school (at the Tate Gallery), gave pleasure to many besides specialists; and by a happy coincidence, our exhibition Towards Art II crowned, last March, a serie s of contemporary sculpture showings which gave London a unique op- portunity to evaluate `work in progress '. But when all this is said (and it must not be undervalued: 196465 was a vintage year on its merits) the event of the year for the Arts Council was the
12 publication in February 1965 of the Government's White Paper, A Policy for the Arts (Cmnd . 2601) . The chief point in this document, from the point of view of the Art s Council, was the change in our channel of responsibility to the Govern- ment. We are no longer responsible to the Treasury directly, but to th e Department of Education and Science, whose Under-Secretary, Miss Jenny Lee, has special responsibility for the Arts .
The second most important matter in the White Paper was the Housing the Arts response of H .M. Government to the persistent demands of the Arts Council for a capital fund from which the building and renovation o f theatres and concert halls might be financed. It was at the request of th e Chancellor of the Exchequer that the Council undertook in 1958 a detailed survey of the national need for new premises for artistic purposes . The results of this enquiry were published in two reports entitled Housing the Arts in Great Britain (1959 and 1961) . Some of the recommendations in these reports have begun to bear fruit . The building of ancillary recital halls, and an art gallery-the Hayward Gallery-adjacent to the Roya l Festival Hall, is in progress . Plans have been announced, subject to financial approval, for a new National Theatre and metropolitan Oper a House on the same South Bank site . The City of London has incorporate d in the plans for development of the Barbican site a bold and imaginativ e scheme designed to accommodate a resident orchestra and a theatre com- pany, for the incalculable benefit of a largely new population, in an are a which has been ill-provided in these respects . A new concert hall and theatre have been built at Croydon . Outside Greater London, new theatres have been built at Nottingham, Leicester, Guildford, Southamp- ton and Chichester . But each and every one of these steps forward has had to be taken without, or with only token assistance from the Arts Council o f Great Britain, because we could never spare appreciable sums of mone y for this kind of capital investment from our annual grant for the suppor t of the Arts on revenue account, the day-to-day running expenses of ou r client companies . The whole situation was radically changed by paragraph 52 of the White Paper of last February : ` . . . the Arts Council will be authorized to enter into commitments up to £250,000 in 196566 in order to encourag e regional and local authorities to develop their plans in this field . If this has the desired effect, the Government will be ready, when the time comes , to consider authorizing the Arts Council to enter into substantially higher levels of commitment in future years .' In the Civil Estimates for 196566, provision is made for us to spen d £150,000 out of this total commitment of £250,000 . The Council has therefore felt obliged to select, for the first year's commitments, projects
13 which are far enough advanced to be carried out without delay, and to give preference to short-dated schemes, likely to involve a substantia l proportion of the total expenditure within the first year of execution. Ap- plications for assistance with other projects are now under consideration in the light of the conditional undertaking given in the White Paper t o provide `substantially' more money in future years . The new policy for housing the Arts is not intended to enable the Coun- cil to build premises independently of local demand, but to encourage local initiative . Whether in the case of theatres, concert halls, or art s centres, there is a world of difference between the action of the Britis h Government in endorsing the line consistently taken by the Arts Council , and the plans of the French Government for establishing a national net- work of Maisons de la Culture. If there is to be a great new opera house in Manchester with resident opera and ballet companies, that will com e about because the people of Manchester and the north have demanded it-not because Manchester was plotted on a map in St . James's Square as the right place for `establishing full-scale permanent opera in the north of England' (State of Play, 1964, p. 26). Similarly the appearance of art s centres at Boston, St . Austell or Birmingham is something that we will encourage, but had no hand in originating . The principles governing expenditure by the Arts Council from the new capital fund reflect thi s primacy of local considerations . Our contribution is not to exceed 50 per cent of the total cost of any project, and will be a much smaller proportion unless altogether special and unforeseen circumstances apply. Neverthe- less, if we are indeed allowed to continue and develop this practical and discriminate kind of `encouragement ', it seems likely that a rational pro- gramme will soon emerge, marking the greatest single factor of progres s towards fulfilment of the Council's twin aims since the original foundatio n and endowment of C .E.M.A.
Regional Associations In paragraphs 4346, the White Paper sets out the case for Regiona l Associations, proposing that a `network' of such groups `should be deve- loped to cover the whole country'. The 1965 situation, there described, becomes more intelligible if it is seen in an historical context . The follow- ing passage from Art in the Red (Arts Council report for 1956-57 ; pp. 28- 29) shows how (and why) the idea of a comprehensive Regional Associa- tion for the Arts originated : `The South Western Arts Association, which was set up when th e Council closed its regional office in Bristol at the end of March 1956, has completed its first year 's work; and its first Annual Report con- tains an encouraging account of its progress . Twenty-six art s centres and arts clubs are full members ; associate members (i .e. those organizations that are in sympathy with the Association 's
14 objects) number thirteen; and there are 104 individual members . Three well-attended conferences were held during the year at Dart- ington, Plymouth and Exeter ; and useful work was done by specia- list groups, particularly in the fields of poetry and the visual arts . The first regional exhibition-a selection of paintings from th e Swindon Corporation permanent collection-was opened at Darting- ton in April 1957 ; and an offer of help from the Arts Council 's Art Department has made it possible for this exhibition to be widel y toured throughout the region . Plans are now under consideration fo r the publication of an anthology of poetry by West Country poets . A new arts centre project is going forward at St . Austell, where the local club has been instrumental in acquiring a large house wit h sufficient ground for building a theatre and laying out a car park . The Shaftesbury Arts Centre scheme, launched four years ago when a start was made with the adaptation of the old Market Hall in th e town, is nearing completion, and the centre will be formally opened in the autumn . There is clearly no lack of interest in the Arts in th e south-west; and the Association is doing a useful job in helping t o improve the standards and widen the scope of the programme of th e various centres and clubs. The Arts Council continues to recogniz e the Association as the appropriate channel for grant-aid to its con- stituent members, and to make it a grant for administrative purposes .'
The South-Western Association continues to flourish, and has greatly extended its activity without appreciably changing its character, whic h is essentially that of a federation of local groups of private enthusiasts and patrons, designed to secure the benefits of mutual aid and co-opera- tion in providing for the artistic needs of a widely-scattered and largel y non-urban population. Side by side with S .W.A.A., the Western Authori- ties Orchestral Association began in 1958 to enrol local government authorities for the concerted financial support of the Bournemouth Symphony Orchestra . Thus, in this region (though the boundaries of th e two associations are not identical), both types of Regional Association, the comprehensive and the specialized, have been well represented for a number of years . (In fairness it should be said that vigorous associations of local authorities for the financial support of other orchestras-th e Halle, the Royal Liverpool Philharmonic, and the Scottish National - have been active for even longer.) There was still room, and a felt want, for the development of a new for m of association, which should be as comprehensive as S .W.A.A.-or the Midlands Association for the Arts (M .A.A.) which followed it-but shoul d enlist the organs of local government and other official bodies into active membership as the orchestral associations do for their limited purposes .
15 `The nourishment of the Arts must not he left solely to Whitehall or the town hall. Patronage should disclose, so to speak, a molecular structure of representation; it should he shared by individuals, local and central government, voluntary bodies, industry and the univer- sities. The makings of such a combination of forces are there, but so far they have rarely come together in a unified effort in any city or region. Examples of corporate responsibility for the Arts are rare in this country. 'An outstanding one is the Edinburgh Festival Society; and many of the other arts festivals, such as York, Leeds, King's Lynn and Norwich, have succeeded in developing a similar basis of responsi- bility. Many orchestras and repertory theatres are now fortified by supporters' clubs of one kind and another, but wider manifestation s of this principle need to be fostered, especially in our larger towns . The Arts Council has for some time been urging the creation of civic arts trusts to preserve and extend the local provision of the Art s in such major cities as Manchester or Leeds, or indeed on a regiona l basis for such areas as the West Riding . So far the only all-purpose body of such a kind to be initiated is the recently created North - Eastern Arts Council, which combines representatives of Local Authorities, voluntary bodies such as chambers of commerce, the Tees and Tyneside Independent Television Co., universities, in- dustry and trade unions. It is an example which should be followed elsewhere.' (Partners in Patronage, Arts Council report for 196061 ; p. 7.)
The success and prestige of the North-Eastern Association for the Arts, now well on its way towards the target of an income of £100,00 0 a year from all sources, has already stimulated the people of Lincolnshir e to found an association of their own on similar lines . Even now the functional pattern may not be complete, but geogra- phical developments on the several lines so far established promise to b e rapid. An Eastern Authorities Orchestral Association has been formed t o finance regular concerts in East Anglia and the east Midlands and Home Counties north of Greater London and the Thames : unlike the Wes t Country, or Lancashire and Cheshire, the eastern authorities will look to have concerts provided by a large number of orchestras visiting th e area. Under the influence of the new Government policy, authorities i n other parts of the country are exploring the possible advantages of com- prehensive association. It is accepted that the word `network' in the White Paper does not imply uniformity of structure, or precisely co- terminous areas for the diversity of associations, any more in the future than in the past .
16 Two more phrases in the White Paper may be culled to illustrate con - sequences which arise from this development : `a small staff with a few keen local enthusiasts backing them ca n stimulate the co-operation of other authorities '; and `once an association has been formed it can act with and for the Arts Counci l in a mutually beneficial relationship '. Even `a small staff' must be housed and paid. S.W.A.A. came into being because the Arts Council decided to economize by closing the Bristo l office and from the first the Arts Council has contributed towards th e administrative expenses of S .W.A.A., and the other similar associations that have been formed with our direct encouragement and approval. However, in the cases of the North-East and Lincolnshire, no part of th e Arts Council grant is earmarked for `administration'. It may not be thought unreasonable to expect that organizations which consist in the main of local authorities should look to the local authorities for that par t of their bread and cheese, leaving the Arts Council to concern itself wit h the artistic end-product. The `mutually beneficial relationship' between the Arts Council an d Regional Associations has hitherto been, and probably will always be , flexible. Problems that would be agonizing if they were allowed to becom e acute may, in the chronic condition, be lived with. There would be little `mutual benefit' if the Arts Council channelled all its assistance throug h Regional Associations to named recipients without giving the associa- tions any say in the disposal of these funds . On the other hand, it i s intra vices the Regional Associations, and quite right and proper, for the m to allocate funds in support of local enterprises which have little or n o claim to Arts Council support within the terms of our Charter: and we remain accountable for the expenditure of our annual grant from th e Government. It is perhaps easier to see than to define the principles t o be followed in this case ; the presence of an Arts Council representative a s an assessor in the councils of the associations is the most effective safe - guard. Another potential difficulty arises over the presence of a recognize d client of the Arts Council (orchestra, repertory company, touring organi- zation) within the boundaries of a Regional Association which we also support. Who is to provide the subsidy? The Arts Council alone? But the n where is the `mutual benefit'? The Association? but we have direct obligations to our client, of which we cannot divest ourselves . This is a fine field for the elaboration of case-law; the extremes to be avoided are , first, treating the Regional Associations as mere post-offices, and secondl y allowing them the sort of autonomy that constitutionally belongs to th e Scottish and Welsh Committees of Council (this is something we are not entitled to devolve upon anyone in England) .
17
Assistance to Paragraph 83 of the White Paper reads as follows : Individual Artists 'As has been said, one of the main objectives of the Government 's policy is to encourage the living artist . At present the young artist , having finished his schooling, has still to gain experience and has difficulty in obtaining employment. Many turn aside to other types of employment because the life of the artist is too precarious, an d their talents are not used to the best advantage. Painters, poets, sculptors, writers, and musicians are sometimes lost to art for lac k of a comparatively small sum of money which would support their start in life. The increase in the Government's grant to the Art s Council will enable them to raise from about £10,000 to £50,000 th e sum allocated for awards and assistance to young artists in all fields . Awards can be used for travelling abroad and study if so desired .' The Arts Council disposes of certain trust funds from which we hav e been able to help a number of young musicians to acquire the advance d training and practical experience that are needed for a finished student t o become a professional artist . Sums have also been set aside, year by year, from the Council's annual grant, for buying the work of young painter s and sculptors, and forming exhibitions from this collection to tour th e country, bringing the works themselves before the widest public . Further subsidies have been of help to poets who have had their writings pub- lished: and bursaries have been awarded to poets who need money to take time off from bread-winning occupations, if they are to develop thei r potentialities. Playwrights are encouraged by guarantees of minimum royalties, and by the subsidizing of professional productions of ne w plays. The training of stage designers and theatre administrators is i n many cases financed in large part by the Arts Council : and, on a larger scale, the London Opera Centre for advanced training and development uses the Council's subsidy to cater for young singers and repetiteurs. As foreshadowed in the White Paper, all this important side of th e Council's work is to be further developed. Schemes of assistance that have proved their value will be enlarged in scope, so that their benefits can reach more people; some awards will be increased in amount ; and wholly new schemes are being elaborated, to offer tangible help and encourage- ment of various kinds to categories of artists not previously eligible fo r individual assistance. No plans of this sort are perfect in the sense of paying a regular divi- dend of enhanced performance ; we shall continue to learn by experience - both our own, and others' .
18
I
tx"
V11 "`~ Ab Committee on the London Orchestras
On December 21st, 1964, the Arts Council, after consultation with th e London County Council (whose functions were later taken over by th e Greater London Council), appointed a Committee to examine the organiza - tion of the four major London symphony orchestras, i.e. the London Symphony Orchestra, the London Philharmonic Orchestra, the New Philharmonia Orchestra and the Royal Philharmonic Orchestra, and i n particular to consider the following points : (a) Whether the demand, actual and potential, for the services of the four orchestras made it desirable for their number to be maintained , increased or reduced ; (b) Whether, and if so in what way, it would be desirable for the four orchestras to be re-grouped; (c) What measures could be taken to improve stability of employment and working conditions among the orchestral players . It was indicated at the time of appointment that the Committee should have regard to the desirability of a rational and co-ordinated concer t policy which would ensure that : (a) programmes and performances were of the highest metropolita n standards ; and (b) employment continued to be provided for the musicians in the exist- ing four London symphony orchestras . The Committee consisted of three members nominated by the Greate r London Council: W. L. Aberneth y T. E. Bean G. W. Mann
20 three by the Musicians ' Union: T. Anstey Hardie Ratcliffe Basil Tschaikov three by the Orchestral Employers ' Association : Stephen Gray Wilfred C . Stiff Sir David Webster and three by the Arts Council of Great Britain : Nigel J. Abercrombi e John Denison M. J. McRobert with Mr L . H. Hoffmann as secretary and Mr Arnold Goodman (now Lord Goodman) as chairman . The Report of the Committee was submitted to the Arts Council at a meeting held on April 28th, 1965, and a copy of the Report was the n forwarded to Miss Jennie Lee, M .P., Joint Parliamentary Under-Secre- tary of State at the Department of Education and Science, with a letter of commendation expressing the hope that the necessary financial resource s to implement the Report would be made available . The Report was published by the Council on June 14th, 1965, with a shor t prefatory note, and the recommendations of the Committee aroused a good deal of public interest in the press and elsewhere . The Committee recommended that an independent autonomous body b e set up to be called the London Orchestral Concert Board . The functions of the Board would be : (a) To consult with the Greater London Council and the management o f the Royal Festival Hall on the allocation of dates to the orchestras i n the scheme ; (b) To consult with the managements of other concert halls in the Londo n area; (c) To approve other concert arrangements by the orchestras ; (d) To approve the budget and general plan of programmes proposed b y each orchestra; (e) To allocate subsidies for approved concerts in advance of each finan- cial year ; (f) To negotiate with local authorities and other bodies for the provisio n of additional subsidies . In addition to the concert subsidies indicated above, each orchestra would receive a basic annual grant to cover administration and genera l expenditure. At the time of writing this note it is too early to say how soon or ho w fully the recommendations of the Report can be implemented, but w e
21 have every reason to suppose that the Report will receive sympatheti c consideration from the Government. It may well he a landmark in th e development of the musical life of London . Paradoxically, although a first-class player may earn rich rewards in the metropolis, he commonly pays a heavy price in overwork and insecurity . One hesitates to use the unlovely word, `de-casualization ', particularly in discussing the affairs of such highly individualistic members of society as musicians, but it ma y be hoped that the `Goodman Report ' will produce an administrativ e framework within which the orchestras may function more efficiently an d the players may find greater security.
22 tl Recovery in the Theatre
The English Province s
The Provinces
A little less than ten years ago the imminent doom of the theatre i n Britain was forecast wherever its condition came up for discussion-in th e daily press, where news appeared almost every week of the final closing of some provincial theatre ; among the critics, who pronounced gloomily on the poor quality of the plays presented to rapidly diminishin g audiences ; in the committee rooms of many local authorities, where th e hopelessness of attempting to prevent the closure of the local theatre wa s accepted without question. Even the Arts Council was unable to main- tain any optimism ; its Annual Reports at this time repeatedly soun d ominous warnings about the feeble state of our theatre : `The casualty rate is an alarming symptom of a malady which threatens to extinguis h the provincial theatre . . . it will become impossible to maintain the frame - work of a touring circuit in the provinces .' This was in 1957, when, fo r example, the last of three theatres in the city of Leicester had been allowed to be sold for commercial development; and the same fate had befallen, or was threatened upon, a vast number of other provincial theatres . In the following year our Annual Report was even more cheerless : `Steadily and ominously throughout the year more theatres have been closing their doors . . . in the near future the theatre outside London will b e beyond recovery and, where it manages to survive, as poignant as a museum piece . . . must all this mean that, outside London, we are bound to accept the dissolution of the professional theatre within the next few years? ' What was required to disperse this despondency and set our theatre on the road to recovery and with a new strength? First, a new pattern o f patronage which would enlarge and combine the effectiveness of th e
24 resources of national, municipal, industrial and private benefactors , without, however, destroying the individual initiative of any one such patron. `Patronage works best ', we said, `when it has many centres of initiative.' Secondly, an act of faith, in spite of all the gloomy head - shaking, which might seem lunacy to some but which, to others, would be the long overdue signal that powerful new help was at last on its way . The third requirement, we said, was the need to abolish the depressingly out- of-date and ill-adapted premises in which most theatre companies were then operating, and to re-house them in well designed, well-sited buildings , with all the amenities and equipment necessary to make `The Theatre' a pleasurable and stimulating experience for audiences and artists alike. In the fourth place, the Arts Council expressed its belief that the pattern for survival must include provision for the best new talents in every fiel d to be given training, and opportunity for service : `. . . A lively and pro- gressive theatre depends upon a continuous supply of new talent in every section of the creative field: a theatre which relies only on its classical traditions and past successes is living on its capital and will inevitably become an exhausted theatre, out of touch with each succeeding genera- tion.' Finally, there was the need to replace the lost audiences of pre-wai days and so build up box=o ficef support towards reducing the constantly widening gap between income and expenditure . Some of the lost patrons could be brought back, but most would have to be written ofas victims of the voracious mass-entertainment media ; and a new, young audienc e from among those who were untrained in theatre-going, suspicious of its ritual and doubtful of its value to them as entertainment, would have t o be won over by every device imaginable. That sense of hopelessness about our theatre which prevailed in th e 'fifties has disappeared today: there is plenty of criticism and dissatis- faction, but it is directed towards a lively, vigorous and much mor e stabilised theatre than we ever dared to imagine possible only a fe w years ago; we haven't got a corpse on our hands any longer . It is worth - while looking back at the devastation of ten years ago to note the signi- ficant events which led to this recovery, this growing stability-the pile - driving operations, as it were, on which a brighter prospect for tomorro w's theatre may now be confidently founded . In 1956, when things were just about at their worst, two `acts of faith ' were promulgated, one in London and the other in the provinces . The firs t was the setting up of the English Stage Company at the historic Roya l Court Theatre in Sloane Square, with a declared policy to give priority of presentation to the works of new British playwrights ; the second was the announcement from Coventry that the Corporation would build the firs t Civic repertory theatre in Britain, the first new theatre for twenty years . There is no need to dwell upon the considerable importance of these tw o
25 events-one originating from private, the other from municipal, patron- age-in the recent history of theatre in Britain; each in its distinctive way has invigorated and enriched the whole scene . Then came in quick succession (1) the request by the Chancellor of the Exchequer that the Arts Council should set up a Committee of Enquiry on the need of build- ings to re-house the Arts in Britain, (2) the abolition of entertainment s tax on the living theatre, (3) the establishment . by the Independent Television Companies of a central fund for grants to the Arts and Sciences , and (4) the publication of the Bridges Report on `Help for the Arts ' and its acceptance by the Calouste Gulbenkian Foundation . These were th e main `starters' on the way for recovery, and encouraged the belief that a combined operation of state, municipal and independent support was in process . Each of these starters has led to valuable and permanent results . The Arts Council's Report on `Housing the Art s' lay dormant for a while, bu t has now come dramatically to life in the new Capital Fund, from whic h assistance to theatres has been quickly made available both for ne w buildings and modernisation of existing theatres . The lovely new theatre s at Nottingham and Guildford were the first to receive effective help just a t the moment of opening; other grants from this fund in the curren t financial year are towards the costs of the proposed new buildings for th e Repertory Theatre in Birmingham and the Arts Theatre in Ipswich, and towards the major improvements at the Sheffield Playhouse, the Liver- pool Playhouse, the York Theatre Royal, and Greenwich Hippodrome . The abolition of tax on all theatres removed the threat of closure over - hanging many of those still struggling to keep open: the catastrophic rate of loss was effectively checked and has slowed down steadily in eac h succeeding year. Some local authorities were encouraged by this action of the Government to take their last remaining theatres into protectiv e custody . The first lone gesture of this kind saved the Theatre at Crewe , where now a new repertory company is established ; then Sunderlan d Corporation bought the Empire Theatre and set up its own municipal management, and its splendid example was followed by the Corporations at Hull, Watford and, more recently, at Bradford . In this way there ha s come into being a new type of public theatre-the Civic Theatre, as it has come to be called-which is not committed to any one particular type of policy (as, for instance, a resident repertory theatre or a tourin g theatre), but attempts to present a mixed programme of events to sui t the varied interests of theatre-going folk in the area . So, in any one year in these theatres, there may be a period of visiting touring companies , followed by a repertory season, followed in turn by pantomime, an d amateur attractions; and interspersed with these there can be concerts , jazz sessions, poetry recitals, art exhibitions and film shows . This is `The
26 Theatre as a Civic Arts Centre ', intended to provide for the needs of all age groups and open during the day as well as at night ; sensible plans are being made to link them together in a loose association (National Council . of Civic Theatres) for the planning of programmes, and co-ordinating of tours. The Arts Council has recognised their potential value in th e current year by offers of grant-aid, and advice on staffing and programmes . Grants to the Arts and Sciences from the Independent Televisio n Companies Association were first made available in 1958, and continue d each year since . The contribution to Drama has been most valuable and salutary : as direct aid to existing enterprises it has totalled a quarter of a million pounds . But equally valuable, and more far-reaching in their influence for the future, have been the new projects sponsored by thes e companies as a result of their becoming involved, and which seem likel y to become permanent elements for the good of theatre everywhere. Typical instances are an exemplary training scheme for new talent among young producers, and the foundation of the second Chair of Drama at a British university . The way of life in Britain, whether expressed through one of th e multitude of those highly individualistic local groups which abound i n every village and town, or through some national association for th e promotion of this or that or the other, has been constantly refreshed an d sustained over many years through the vision and generosity of one o r other of certain powerful private Trusts-the Carnegie, the Pilgrim, th e City Parochial, and the Nu ffield, serve as examples . They were establishe d by their benefactors to encourage, preserve and develop whatever wa s believed to be valuable and needful in the educational, scientific and cul- tural life of the people. The Arts Council itself came into existence by this means, and it should never be forgotten that many of the institutions for which it has since accepted responsibility would not have survived thei r earlier years without the help provided from these independent sources - the Old Vic and the Sadler's Wells Theatres, for example . So the accept- ance in 1959 by the newly created Calouste Gulbenkian Foundation of a programme for the support of the Arts was welcomed everywhere a s another major turning point towards eventual victory . How powerful that help has been to the theatre may be judged from the figures alone : contributions by the Foundation to the cause of Drama over the si x years have amounted to no less than £150,500; and this generous help ha s been wisely directed for the most part towards the encouragement o f new experiments in practice and policy, rather than merely to sustai n outworn and outmoded methods . We have thereby been able to watch the results of vigorously directed campaigns by some theatres to attrac t and hold new audiences, to apply new techniques in publicity ; others hav e chosen to concentrate on long-term systems of continuous training fo r
27 artists and technicians, with the object of creating unity of style and concept within any one company; yet others have attracted the help of architects in experiments on new concepts of design for theatre buildings, basically of the non-proscenium type, and with considerable adaptability. All this, and much else that pertains to the new spirit of revival in our theatre today, is due to the timely intervention, with fresh and novel ideas and the willingness to back them, of the Gulbenkian Foundation . Another new patron of the Arts-though for long a most generous benefactor in other fields-has been the Nuffield Foundation; through its grant to the University of Southampton a new University Theatre, de- signed for joint use by student organisations and professional visiting companies, was opened in 1964 . The second example of this type is nearin g completion at Manchester, where the new University Theatre will open i n October. Others are planned at Birmingham, Exeter and Hull; so that, with Oxford and Bristol already in operation, there is emerging a com- pletely new circuit of part-academic, part-public theatres, with immens e possibilities for good on both sides as Theatre and University go vigorousl y along together. Perhaps the most striking feature of this new spirit of revival , however, has been the willingness of a very considerable number o f private individuals and business firms to contribute to completely ne w ventures, whose chances of success at the time were never thought to b e high even by their warmest friends . The building of the Mermaid Theatr e was a glorious act of faith if ever there was one-there were those wh o deemed it an act of foolishness, but fortunately they were not heeded ; so was the daringness of the conception which led to the building of th e Festival Theatre at Chichester . Yet these two theatres, each demonstra- ting exciting principles of theatre-design quite new to audiences in thi s country, were built with contributions from personal and private sources , ranging from a few shillings to several hundreds of pounds . The same persistent, painstaking methods have been mainly the means of raisin g private support for new amateur theatres at Ealing (the Questors) and Birmingham (The Crescent), and for professional `studio' theatres in West London (L .A.M.D.A.), Stoke-on-Trent (The Victoria) and Edin- burgh (The Traverse) . Each of these concepts has demonstrated in on e way and another the most valuable newtechniques in theatre-constructio n and in actor-audience relationship . Even more significantly, they have each emphasised the high importance, especially at times of crisis, of th e individual faith and the independent spirit . It cannot yet be said, alas, that the same transforming zeal and adven- turousness has swept through the Committees and Councils of our loca l authorities; there are still far too many of them almost totally indifferen t to the needs of the Arts within their boundaries . This is clearly demon -
28 strated in two recent reports which have probed into the extent of the participation by local authorities in the field of entertainment-on e published in 1964 by the Institute of Municipal Entertainment Officer s and the other in 1965 by the National Council of Civic Theatres. There is the further evidence of the current figure for the national average of revenue expenditure by local authorities under the 1948 Act; though it i s improved on the miserable one-sixtieth of the permissive maximum (a s revealed in the Arts Council Report for 195960), it is still no more tha n the equivalent of a fraction of a penny rate for all forms of entertainmen t -theatre being only one of them, and most frequently the Cinderella . This is the spirit which has been epitomised in a recent letter from th e Clerk of a local authority to the Director of the local theatre, sayin g that some seven months earlier his Council had decided to make a contri- bution bution to the work of the playhouse, and he accordingly enclosed a cheque for one guinea. But these dreary facts and figures scarcely do justice to the change o f heart which is manifest in many other places ; in Bristol, for instance , where the Corporation has now replaced the Arts Council as holder of th e head lease of the Theatre Royal, has assumed sole responsibility for th e affairs of the Little Theatre, has increased tenfold its revenue contributio n to these theatres, and is taking a major part in plans for the first majo r break-through to a `Regional Theatre Centre'. This, it is intended, will unify the talents and experience at the two theatres, the theatre school, the University department and two television studios in the service of th e City and the South West region, and will provide for increased touring in other parts of Britain, and abroad. The same generosity of outlook lies behind the decision of the Birmingham Corporation to build a ne w repertory theatre at a cost of half a million pounds, of Liverpoo l Corporation to contribute to the modernisation of the Playhouse, and of Edinburgh Corporation to accept major responsibility for the redevelop- ment of a new site to provide a new playhouse . In like spirit have been the new commitments undertaken, during the year under review and in sup - port of local theatres, by the Authorities at Bromley, Coventry, Crewe , Malvern, Watford and York . The future is alive with promise from similar sources; the resolve to build new theatres has been officially recorded by fifteen local authorities, and two large cities are each involved in examin- ing development proposals for an `entertainment precinct' which will include theatres of opera-house dimensions as well as more intimatel y designed playhouses. During these years of mounting patronage the allocation of grant-aid from the Arts Council to the needs of Drama in the provinces increase d steadily every year . In 195758 the amount made available to twenty-tw o theatre companies was £39,000 ; the equivalent figures in 196061 were
29 twenty-seven companies sharing £97,000; and in the year covered by this report the number of supported companies had risen to forty, and the allocation to £240,000 (excluding Stratford on Avon). It is a remarkable fact that in a period of catastrophic depletion in the number of provincia l theatres, there has actually been a steady increase in the number o f repertory theatres and a strengthening of their position . They have become the permanent playhouses of Britain, with a standard of work fa r higher than ever before, and larger audiences to support them . In. recent months productions from the Bristol, Oxford, Nottingham and Birming- ham theatres have been welcomed and acclaimed in London, and th e resulting critical assessment has raised considerably the reputation o f provincial theatres in general . The grim days of `weekly rep' are gone forever; production schedules are being extended to provide longer and longer rehearsal time, and the system of playing in repertoire-whic h provides the best of all conditions-has now been adopted by ten provin- cial managements . Five years ago this pattern of playing was unknown among our playhouses except at the Old Vic and the Shakespear e Memorial Theatre ; now we can look forward to a considerable extension of it as the promised new theatres are built and existing ones reconstructed . The improvement in the standard and stability of provincial theatr e companies in the last five years is beyond doubt; so is the improvement in attendances, which show for the year under review an average of over 65 per cent of capacity at ten theatres . The total admissions recorded in the year at a sample cross-section of repertory theatres may correct th e frequent sneer that theatre-going is a minority interest among the rate - payers of Britain. At Bromley there were 170,000 admissions, at Notting - ham 218,000, at Bristol 165,000, at Salisbury 87,000, at York 202,000 , at Derby 91,000, and at Coventry 184,000; and many theatres report the healthy sign for the future of a steadily growing number of youn g people in their audiences . Yet it must always be remembered and acknowledged that little woul d have resulted from all this upsurge of new patronage without the deter- mination and dedication of those who where actually working in thes e theatres through these grim days . They endured, and still endure, condi- tions of work in many ill-adapted and ill-equipped buildings which woul d have been condemned outright by any factory inspector, and agreed to work for salaries well below the rate they would have earned in any othe r group of theatres. The present state of these companies and the necessary requirements fo r their immedate, future improvement were carefully examined durin g the year by the Drama Panel, and its findings and recommendations wer e accepted by the Arts Council. The summary and conclusions of the enquir y are included as Appendix B p . 75 in this Report.
30 y~ r9L~;
9 Festivals
Summer is the season of arts festivals-at home and abroad-and th e word `festival' has become an accepted part of our culture jargon . It is even contended that festivals are good for the national economy because , although they may need subsidising, they attract foreign as well as nativ e visitors. For instance, the Edinburgh Festival is said to bring annually between £2 million and £3 million to the town . The arts festival is not a new phenomenon, though their proliferation is of comparatively recent date . The Three Choirs Festival has an honourable tradition dating back over two centuries, during whic h period it succeeded in making music in Gloucester, Worcester and Here - ford Cathedrals respectable by devoting a fair part of festival profits to local charities . The attempt to commemorate Shakespeare in his birth - place goes back to David Garrick in 1769, though the regular seasons o f Shakespeare's plays began a century later . The industrial growth of th e nineteenth century led a number of big provincial towns to show off thei r prosperity by promoting big musical festivals, often on a three-year basis . Mendelssohn's close connection with Birmingham is a matter of musica l history; and two of these old triennial festivals-viz . Leeds, and Norwich and Norfolk-have survived into our present era . And there were festivals in some of the smaller towns and the country- side too . In the latter part of the nineteenth century, the Worsley family used to invite their friends and neighbours to watch cricket and enjoy music (usually provided by an ensemble led by Joachim, the friend of Brahms ) at their country house at Hovingham, Yorkshire. Early in the present century, Rutland Boughton chose Glastonbury as a suitable centre fo r
32 his musical activities because of its association with the Arthurian legend s which he was determined to use as basis for an operatic cycle . The enthusiasm of his friends and supporters enabled him to launch a festiva l in a remote part of the country, which produced many of his own musi c dramas and revived a number of early English operas . Although per - forming standards were inevitably affected by lack of funds, the effect of the Glastonbury Festival was far-reaching . While Boughton and his followers lacked the stamina and organizing ability to build the Glaston- bury Festival into something permanent, they set an important example. Where they failed, John Christie and his wife, Audrey Mildmay , gloriously succeeded. The sneer `Mozart in a Sussex hayfield', or whatever phrase Edward J. Dent is supposed to have invented in order to poke fu n at the Glyndebourne Festival, was undeserved . The idea of opera at Glyndebourne may have started in 1934 as a rich man's whim ; but the Christies had a trump card in their hand . Once they had decided that only the best was good enough and they had had the good luck to find Frit z Busch, Carl Ebert and Rudolf Bing able and willing to accept engage- ment, the future of Glyndebourne was assured. Andit must be remembere d that at that moment in the 1930s opera in Great Britain was confined to a short annual stagione at Covent Garden, with international artists, th e slow building-up of a resident repertory company at Sadler 's Wells, the tours of the Carl Rosa and D 'Oyly Carte companies, and an occasiona l foray by Sir Thomas Beecham into the realms of opera in English . The war naturally led to the cessation of the Glyndebourne oper a seasons and all other festival activities ; but it was during the war that the idea of the Edinburgh Festival was born . There was a short period when Glyndebourne Opera toured a production of The Beggar's Opera with Michael Redgrave as Macheath and Audrey Mildmay as Polly ; and while the company was in Edinburgh, the Christies and Rudolf Bing wer e struck by the romantic beauty of the blacked-out city in the light of the full moon and its fortuitous resemblance to Salzburg . Surely, they felt , this would be a worthy setting for an international festival of the arts . After the war, the idea found ready support, and the first Edinburgh Festival was held in 1947 with Rudolf Bing as director .
Meanwhile, Glyndebourne had reopened in 1946 with the Englis h Opera Group's production of Benjamin Britten's The Rape of Lucretia ; and this was toured round the provinces after the Glyndebourne festival season was over. But when details of the 1947 festival season were an- nounced, it was found that the English Opera Group had been relegate d to the status of visitors . The English Opera Group took their new pro- duction of Britten's Albert Herring abroad that summer, and it formed part of various festival programmes in Switzerland . But the incon-
33 veniences of this touring were so marked that Britten and his friends decided that in future it would be more sensible if they could set up their own festival organization at home; and so the fast Aldeburgh Festival was held in the summer of 1948 . Three years later the Festival of Britain put the seal of official approva l on the festival movement as a whole . New festivals were invented to meet Government requirements; and these played their part in the national jamboree . Much of this set-up proved ephemeral-as indeed it was in- tended to be-but two things at least remained behind as permanen t legacies of 1951 . One was the revival of York's great cycle of medieval mystery plays, which had not been performed since the sixteenth century, and which have now become the main feature of a regular triennial festiva l in York. The other was the consciousness that in the South Bank Londo n possessed one of the finest sites in the world for a metropolitan arts centre, including national theatre, opera house, large and small concert halls, exhibition galleries, and film theatre . When these buildings are complete, they will provide a wonderful setting for the sort of international festival , of which we were given a foretaste in the first Commonwealth Art s Festival.
The question of direction is of fundamental importance . Edinburgh, for instance, has been fortunate in engaging a fine succession of professiona l directors-Rudolf Bing, Ian Hunter, Robert Ponsonby, Lord Harewood , and now Peter Diamand. Aldeburgh benefits from the fact that Ben- jamin Britten, Peter Pears, and Imogen Holst reside in the town . The festivals at Bath and King's Lynn have attracted the services of Yehudi Menuhin and Lady Fermoy respectively. Glyndebourne continues to enjoy admirable artistic direction; but, as announced by George Christi e at the conclusion of the 1965 season, next year 's operatic programme will be shorter and will carry a greater proportion of novelty and large r variety than has been the case in recent years . The nature of a festival programme is naturally conditioned to a large extent by the accommodation available. Edinburgh Festival directors have not been slow to point out that opera cannot hold a position of out- standing importance intheir festival programmes unless an adequate opera house is provided in the city. The Aldeburgh Festival programmes woul d have taken a very different shape if the local Jubilee Hall had been the only place where they could be presented . The availability of several magnificent East Anglian churches-including Aldeburgh itself, Orford, Framlingham, Blythburgh-has made feasible a wide range of concerts and performances of religious music dramas like Noye's Fludde and Cur- lew River. In York, the mystery plays are presented in the open air-not on
34 pageants as was the case in the Middle Ages, but on a temporary stag e erected in front of the ruins of St Mary 's Abbey. A similar open-air settin g is used at Ludlow, where the walls of the Inner Bailey of Ludlow Castle provide the background for the annual festival play production. The Tower of London has also been used in two of the recent City of Londo n Festivals for the production of The Yeomen of the Guard . These open-air settings can be a serious liability in view of the vagarie s of the English climate . Performances can be rained off; or, even if it i s fine, the temperature of an English summer night can drop remarkably near to freezing-point . Nevertheless, open-air performances possess a special quality of their own . They usually start in daylight; and there is a strange magic as the daylight fades, the artificial lighting unobtrusively takes over, and the drama moves into a different visual dimension. It should be added that the acoustics of the Inner Bailey of Ludlow Castle are so outstandingly good that it is an exquisite pleasure to hear Shake- speare or Milton or the lines of some other great writer spoken there . That new work should be encouraged by festivals seems a truism ; but it cannot be repeated too often. By definition, the Cheltenham Festiva l (which has just celebrated the twentieth anniversary of its foundation ) concentrates on new British music . At different times, important new works have been commissioned by other festivals-e .g. Britten's War Requiem for the Coventry Cathedral Festival in 1962, and Michae l Tippett's Concerto for Orchestra for the Edinburgh Festival the follow- ing year. But much more remains to be done. Any commissioning policy must be a long-term one . Plans must be made several years in advance. Festival societies placing these commissions must have patience an d confidence. They must also be prepared for the occasional failure. The Muses are shy, and need tactful and gentle courting. Where is the money to come from for all this? A substantial proportio n of costs should be covered by receipts . Clearly, local authorities are concerned, since a 'festival will cater for a substantial proportion of th e local inhabitants, and the locality is likely to benefit in other ways . The Arts Council of Great Britain can be relied on to contribute if the festiva l shows itself to be of sufficiently high standard. It would be pleasant i f local industry and commerce felt it a privilege to subscribe ; and charitable foundations and trusts should be encouraged to help with special project s such as commissioning schemes . It is unlikely (and perhaps undesirable) that the subsidy total should ever exceed 50 per cent of the gross expendi - ture. And what of the audiences? These special festivals cannot be looked o n as the equivalent of entertainment provided for the local populatio n during holidays at home. They cater for a public already sufficientl y interested in the Arts to be willing to look on these performances as a
35 special occasion. There is no harm in this, provided each festival makes certain that there are opportunities for an intake of new young people. As part ofthis drive, it may be thought that special reduced price tickets should be made available for all students . And, finally, the proof of the pudding is in the eating. As Sir John Fulton, Vice-Chancellor of the University of Sussex, said at a Festiva l Conference at Brighton last April, `A festival should recharge people's batteries .' If it fails to do that, then it had better close down .
[This article by the Assistant Secretary of the Arts Council was published in `New Society' for August 19th, 1965. It is reprinted here by kind permission of the Editor.]
36
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' :_\r t IY `~• y ~.n•i ~,~~V~, ' _, 1.? -'~• J*'~ ~~~~7 - \`i\~- ~~o ) ~. '~`~'s-r~sYr~~~l/ t y r C r(ot Nll/ .F• - ~~;~•~~c`~ ~~r^~YJ TF 4t. ~' ~ ~~.~ F° ~ ~ {~~st' ; ' ,}!'4' Y, ,$„'- '~ t 1 rte- \} 11 ~I , . {~ 1 ` -n ~ 1 •3~~k~~y ..j. ~'(Y +*. ~i'~/y~C~I \-1 Ala' 71i~ ~i.lt'n~~l~r~1r~i3 ...~..~.'.*fiAlL'~4~J~~ii%~ sn,.~ •/l~ r.~ 3 .(~~6~'GI/C':~ ."1ri\'~ ~ ."i7-7.1 f~i2~~ ": :t1~(1~1111~ ..1`I~'•v - Literature (including Poetry)
When the Arts Council was set up in 1945, its operations covered opera, ballet, music, drama, and the visual arts of painting and sculpture ; and three panels were appointed to advise it accordingly . At that point there was nothing to suggest that literature as an art form was also in need o f subsidy from central Government funds . A few years later the Arts Council was consulted by the Government o n advance plans for the Festival of Britain 1951 ; and part of its advice was that various commissioning schemes should be launched . In this con- nection it seemed unfair that poets should not benefit as well as com- posers and painters and other artists; and so it came about that a small group, consisting of Richard Church, C . Day Lewis, Sir George Rostrevor Hamilton, Christopher Hassall, and L. A. G. Strong, was asked to advis e the Council on what could be done for poetry . Their recommendation wa s that a world-wide competition should be held for poets who were citizen s of the British Commonwealth or of the Republic of Ireland. This was done , and the prize-winning entries were published by Penguin Books a s Poems 1951 . But at the same time the advisers made it clear that the y did not rate very high the value of poetry competitions as such, and thought the Arts Council could do a more valuable job if it adopted a continuing and long-term policy of assistance to poetry . The Council wa s persuaded, and the Poetry Panel was set up in 1950 with Joseph Compton as its first chairman. Since then the funds at its disposal have increased steadily. The Council's annual accounts show that whereas the amount actually spen t on poetry in 1952/53 was £648, by 1964/65 it had risen to £5,148 . The Council's policy has been directed towards helping both the printed
38 and the spoken word . Grants have been given to the Poetry Book Society since its formation in 1954 to help it distribute four book choices a yea r to its members, who though not numerous (they average about 750 eac h year) are spread all over the English-speaking world-and also to a num- ber of little magazines whose policy it is to feature contemporary poetry . Bodies like the Apollo Society and the Society of Barrow Poets have been subsidized for their recitals; and the Shakespeare Birthday Trust for it s annual festival of poetry in Stratford-upon-Avon, and the Poetry Book Society for its biennial one in London . The Council has also promote d commemorative recitals of poetry in London and poetry reading tours i n the provinces . In recent years the arrangement whereby two poets ar e engaged for a week's tour together has proved particularly successful; and the following pairs undertook such tours in 196465 : Patricia Beer and R. S. Thomas, Alan Brownjohn and Peter Porter, Ted Hughes an d Charles Tomlinson. Since 1953 a pattern of triennial prizes for poetry has been evolved, consisting of (a) a prize for the best book of English poetry published dur- ing the three years and (b) a prize for the best first or second book published in the same period . For the three-year period July 1st, 1962, to June 30th , 1965, the judges were Alan Brownjohn, P . N. Furbank and Professor Frank Kermode ; and on their recommendation the Council has awarde d (a) £250 to Philip Larkin for The whitsun weddings (Faber & Faber), and (b) £175 to David Wevill for Birth of a Shark (Macmillan) . In addition Flight to Africa by Austin Clarke (Dolman Press) and Selected Poems by A. D. Hope (Angus & Robertson) were specially commended; and the authors have received £100 each . The project to build up a National Manuscript Collection of Con - temporary Poets, which was jointly launched by the Arts Council and the British Museum in 1963 with the help of a special grant of £2,000 fro m the Pilgrim Trust, has made considerable progress; and a list of the latest accessions is given in Appendix D . A new policy departure in 1964 was the decision to award poetry bur- saries with the avowed intention of buying time for poets . The first bursar was Martin Bell ; and in his case, not only did the bursary free him fro m other commitments so that he could devote a greater proportion of hi s time to his poetry, but he also benefited to a marked degree from th e prestige attached to the award. Encouraged by this, the Council made two such awards in 1965-to John Heath-Stubbs and Elizabeth Jennings . In addition, the Council was so impressed by the merit of some of th e runners-up that it awarded four lesser grants to Basil Bunting, H. W. Massingham, David Wevill and Andrew Young. A suggestion that the time had come for the Arts Council to broade n its policy so as to cover literature as well as poetry was made in th e
39 autumn of 1964 by representatives of the Publishers' Association whe n they met members of the Poetry Panel to discuss matters of common interest; and specific proposals were forwarded by the Association early in 1965. These covered bursaries for writers, awards to help the publicatio n of approved works of research, and prizes for books . At the same time the Government White Paper `A Policy for the Arts' drew attention to the plight of the writer and suggested a number of lines along which help might be directed . The Arts Council has considered the position with care and has decided to turn the Poetry Panel into a Literature Panel by increasing it s membership . The new panel will have the responsibility of advising th e Council on ways of helping literature-particularly imaginative literature , including poetry. How far it will be able to evolve an active polic y which is likely to benefit writers, and encourage publication and reading , will depend to a large extent on the funds made available for this purpose. But, funds apart, the influence and authority of the Arts Council shoul d make an important contribution towards the furtherance of these objects .
40
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Scottish Opera
An event of the greatest importance to the Scottish cultural scene ha s been the emergence and rapid establishment during the last four years o f `Scottish Opera'. The very high standard of performance achieved by th e opening production, Pelleas et Melisande, in 1962 has been sedulousl y maintained in the succeeding years and the demand for seats has steadil y increased . In the year under review the company again visited Edinburgh an d Glasgow with a number of internationally famous soloists and the Scottis h National Orchestra in Otello, Don Giovanni and Gounod 's Faust. At the time of writing (June 1965) a further season has just ended which included a visit for the first time to Aberdeen . The operas this year were Boris Godunov, Madama Butterfly and a revival of the 1964 production of Don Giovanni . Once again the season was highly praised by the critics, and audiences increased to the extent of 83 per cent of capacity in Glasgow , 76 per cent in Aberdeen and 98 per cent in Edinburgh . These remarkable figures indicate a strong and growing demand among Scottish audience s for opera at this high level of performance . All the operas presented s o far have been given in English, with the exception of Pelleas, Faust, Otello and Butterfly, which were sung in the original languages . Opera is a very expensive art form and, if it is to be available to all , requires a high level of subsidy. The Arts Council 's Scottish Committee has substantially increased its grant in the current year, and grants have also been made by the corporations of Aberdeen, Edinburgh and Glasgow . It is hoped that these authorities will be encouraged by the remarkabl e
43 success of this venture to increase their support in the future so tha t longer seasons may he given and standards maintained without furthe r increasing the already high level of seat prices .
The Scottish Committee 's Tours General Direct provision of the Arts by the Scottish Committee of the Art s Council continues to develop and expand in Scotland : indeed, in a country of small, widely scattered communities it is the only means of carrying out the specific injunction of the Arts Council's Royal Charter `to increase the accessibility of the fine Arts to the public throughout Our Realm'. Accurate figures are not available for attendances at art exhibitions, bu t for the Committee's directly provided performances of music, drama , opera, ballet, and puppets the records show a total attendance for the year of over 50,000 people . The number of places covered by these tours continues to increase; newcomers this year include Thurso (Caithness), Dornoch (Sutherland) , Dornie (Ross and Cromarty) and Beith (Ayrshire) . Although a small number of these local organizations specialized in either music or drama , the majority preferred to cater for all tastes by having a programm e consisting, for example, of one theatre show, one ballet, one opera and one chamber music concert . Orchestral Music For many the outstanding musical event of the year was the tour under - taken by the London Mozart Players conducted by Harry Blech . Geo- graphically the eight concerts of the tour were so placed as to give mos t areas of the country the opportunity of hearing this orchestra; this was particularly appreciated by the people living in the northernmost countie s of the mainland, the concert in Brora being the first occasion on which a professional orchestra had been heard there ; parties travelled to this con- cert from as far afield as Thurso . The tour repertoire included Mozart's Symphony No . 29 in A and Haydn's Farewell and Maria Theresa Sym- phonies. Attendances at these eight concerts averaged around 400 . Chamber Music Over seventy chamber music concerts were given under the Committee' s management, forty-five of them by groups resident in Scotland . The Clarinet Quintet, introduced last year, gave a further seven concerts and another development was the expansion of the Edinburgh Quartet to for m a Cello Quintet which gave six concerts ; the Quartet also appeared three times on its own. The Edinburgh Wind Quintet, now in its second season , had seven engagements and there was considerable demand for the lates t Scottish-based chamber music group, the Bernicia Ensemble-consistin g of flute, oboe, violin and pianowhich is already able to offer a varied and interesting repertoire . The Scottish Trio (violin, cello and piano) had six engagements.
44 There was a great demand for the two visiting chamber music group s which it was not possible to meet in full in the limited time the artist s were able to remain in Scotland . Duncan Robertson (tenor), Alan Civil (horn) and Alexander Kelly (piano) undertook a tour of eleven towns , their programme including Schubert's Auf dem Strom and Britten's Serenade; and the Neaman-Wolf-Isepp Ensemble gave fifteen concert s which were greatly enjoyed by audiences from Thurso to Stranraer. In its four-week tour Opera for All played to a total audience of nearly Opera 5,000, giving seven performances of Rossini's Cinderella, four ofLa BoUme and six of a double-bill of Menotti 's The Telephone and Donizetti's The Night Bell. The Intimate Opera Company, in a tour of thirteen towns mainly in the north, included Dibdin's The Grenadier and Hopkins' Three's Company in their programme . Following last year 's outstandingly successful tour of Twelfth Night the Drama Citizens' Theatre presented The Merchant of Venice for their annual tour of the southern and central areas . We are glad to report that last season 's record attendance for these tours was exceeded by this company. The New Scottish Touring Theatre presented Tennessee Williams ' The Glass Menagerie for a four weeks' tour mainly in the northern part of the country. The company accepted an invitation to visit Northern Irelan d immediately after the Scottish tour. Other drama tours promoted by the Scottish Committee were Rober t Kemp 's The Heart is Highland; starring Lennox Milne (for whom th e play was written) and presented by the Edinburgh Gateway Company; and a five weeks ' tour by Bertha Waddell's Children's Theatre whic h broke all its own previous records with a total audience of 10,487 . Interesting newcomers to Scotland were The American Dance Com- Ballet pany paying their first visit to Britain. After a week at Perth Theatre they toured for a fortnight of one-night stands and received a warm welcome everywhere . A very happy and successful tour was undertaken by the Hogarth Puppets Puppets in December, the average audience being 340 . To mark the Shakespeare Quatercentenary, Ronald Watkins was Poetry invited to undertake a short tour with his lecture-recital This wooden 0, and four recitals of Shakespeare 's verse were given by Ian Gilmour an d Meta Forrest. Edinburgh International Festival Featuring Shakespeare, Berlioz and Janacek, the 1964 Edinburg h Festival surprised everyone by turning the previous year 's deficit of £14,380 into a surplus of £35,637 . The total cost of productions at jus t over £172,000 (for thirty-nine fewer performances) was £67,000 less tha n for 1963, while revenue was only £21,000 below that for the previous
45 year. This happy result was in great part due to the remarkable success of the Opera Company from the National Theatre, Prague, though ver y careful budgeting also had a great deal to do with it. Donations included £50,000 from the Edinburgh Corporation, £29,900 from private donors and £7,500 from Scottish Command . The Scottish Committee of the Arts Council repeated its previous year's grant of £20,000 . A full report of the 1964 Festival is given in the Edinburg h Festival Society's Annual Report. Other Festivals Montrose Festival The Montrose Festival of Music, Drama and Art again took place in June under the direction of Watson Forbes . Chamber music, orchestral and choral concerts, song recitals, a performance of Spanish dancing anda puppet show all received financial support from the Scottish Committee. Other events included a performance by the Byre Theatre Company from St. Andrews. This small festival with its concentration into eight days of so many varied aspects of the arts, both professional and amateur, is undoubtedly an excellent way in which to promote the arts in a small town . Stirling Festival The Scottish Committee contributed to the seventh Stirling Festival Fortnight, held in May 1964, by assisting with the planning of an exhibi- tion of Scottish contemporary art. Other events included two concerts b y the Scottish National Orchestra, a performance of The Dream of Gerontius by Stirling Choral Union, a number of recitals and an amateur drama festival . Art Art and Movement Art and Movement, the Scottish Committee's major exhibition of the Exhibition year, was mounted in co-operation with the Signals Gallery and it s Director, Paul Keeler . The exhibition was designed as an introduction t o some of the experiments with movement, both actual and implied, which have concerned artists in the last ten or twenty years . The individual radio guide tours enabled visitors to hear a commentary, including the voices of several of the exhibiting artists, as they made their way round the exhibition . The Committee was particularly fortunate in obtaining a commentary from Naum Gabo, whose Early Kinetic Construction was one of the earliest experiments . The exhibition was shown in Edinburgh and Glasgow and was seen by over 27,500 people; lectures were arranged to coincide with the exhibition showings and a colour film record was made . Pictorial Embroidery In the Committee's own gallery at 11 Rothesay Terrace, Edinburgh, a number of smaller exhibitions was shown during the year . The first o f these, Pictorial Embroidery, was mounted in the gallery during the mont h of May. These witty, delicate and often sumptuous embroideries were the work of Miss Kathleen Whyte and her former students of the Glasgo w
46 School of Art. The showing in Edinburgh was followed by a tour lasting twelve months. Both private individuals and public bodies made pur- chases, the latter including Glasgow Museum and Art Galleries, the Scot- tish Committee of the Arts Council, Kirkcaldy Art Gallery and Museum, the Dumfriesshire Educational Trust, the Schools Service of the Nationa l Museum of Wales and the Manchester College of Art and Design. There was a complete change of mood in this small gallery when, as par t Shakespeare i n of the Shakespeare Quatercentenary Celebrations, Shakespeare in Scot- Scottish Art tish Art was hung . The research for this exhibition, which consisted mainly of paintings from the eighteenth and nineteenth centuries, wa s carried out by Mr Basil Skinner, Assistant Keeper of the Scottish Nationa l Portrait Gallery. Large decorative figures of Macbeth and the Three Witches, specially designed by Mr Alexander Reid of Perth, were sus- pended in the entrance hall and dramatically lit. During the period of the Edinburgh Festival another small exhibition , Four Scottis h Four Scottish Artists, was shown in the Committee 's gallery ; this, the Artists second in the series designed to show visitors to Edinburgh the work of Scottish artists, consisted of sculpture by Ann Henderson and painting s by David A . Donaldson, Alberto Morrocco and R. Henderson Blyth. Something of the atmosphere of the eighteenth century pervaded th e James Skene Centenary gallery from the James Skene Centenary Exhibition. These delightful Exhibition watercolours of Edinburgh, Europe and Greece were brought together by Mrs Meta Viles, Librarian of the Edinburgh College of Art . Some of the views of Greece were lent by a direct descendant of Skene . As well as the help given to Stirling Festival, financial support wa s Support to Othe r provided for seven other bodies : the '57 Gallery in Edinburgh, the Aber- Bodies deen Artists' Society, the Scottish Society of Women Artists, the Citizens ' Theatre, Galashiels Arts Club, Wigtownshire Arts and Crafts Club and Falkirk Arts and Civic Council . The number of lectures provided by the Committee increased from Art Films and eighty-six to 100, and twelve film shows were arranged. Lectures The Committee also continued its policy of purchasing works by Scot- Purchases tish artists, and now owns 125 oils, seventy-one watercolours and drawings, five pieces of sculpture and a small number of miscellaneou s works including a tapestry designed by the late John Maxwell, R .S.A., and woven by the Edinburgh Tapestry Company, which was speciall y commissioned in 1957 to hang in the Committee 's gallery. Music The Scottish National Orchestra made 185 appearances during the Scottish Nationa l year, of which nineteen were with Scottish Opera . A highly successful Orchestra season of promenade concerts was given at the Kelvin Hall, Glasgow, in June, which included performances by the Halle and Bath Festival
47
Orchestras and a jazz concert in which the Scottish National Orchestra was joined by Johnny Dankwort h's band. The orchestra also took part i n the Edinburgh and Stirling Festivals and broadcast frequently on bot h sound radio and television. There was a further increase in grants from local authorities making a record total of £65,200. The four Counties of Cities contributed over £59,000 of this total, the balance being provided by 145 counties and burghs. National Federation During the year 109 concerts were presented by the forty music of Music Societies societies receiving guarantees against loss through the Scottish Committee of the N.F.M.S.* Thirty-eight of these concerts were given by twenty-tw o choral societies and included six works by living composers. Six amateur orchestral societies gave a total of twelve concerts, and fifty-nine recitals of chamber music were provided by twelve music clubs . The Scottish Committee's policy of awarding a special grant of £10 fo r each string quartet engaged by the clubs resulted in twenty such engage- ments. Other Concert The following organizations gave a series of concerts with help from the Societies Scottish Committee-The Saltire Society, the Edinburgh Lunch-Hour Concerts in the National Gallery of Scotland, the Connoisseur Concerts Society, the College of Piping, and the Edinburgh Organ Recitals Committee . Guarantees were also given for single concerts in a number o f towns. Opera and Ballet Visiting Companies In addition to the performances given by Scottish Opera and th e Scottish Committee's tours of opera and ballet, both mentioned earlier in this report, there were visits to Scotland by Sadle r's Wells Opera and the Ballet Rambert. The former came to Edinburgh and Glasgow in April 1964 with a repertoire consisting of Cost fan Tutte, Peter Grimes, Rigo- letto, Samson and Delilah and La Vie Parisienne. In November the com- pany returned to Glasgow with Faust, The Girl of the Golden West, Hansel and Gretel, Carmen and The Seraglio, and took the same operas to Aberdeen. As is usual with this company, all the operas were sung i n English. Apart from the previously mentioned tour by the American Danc e Company, the only professional ballet to be seen in Scotland during th e year was provided by the Ballet Rambert ; this company appeared for on e week at the Lyceum Theatre, Edinburgh in a programme which include d Coppelia, Les Sylphides and La Sylphide as well as three modern ballets . Amateur Opera Financial assistance towards the cost of engaging professional musi- cians was given again this year to the Glasgow Grand Opera Society * See also page 68 .
48 (Il Trovatore and L'Africaine), the Drawing Room Music Society (The Beggar's Opera), the Edinburgh Opera Company (The Pearl Fishers) and the Bellahouston Music Society (Falstaff) . Drama On September 29th, 1964, the Citizens ' Theatre celebrated its twenty- Glasgow Citizens ' first birthday with a gala performance of A Sleeping Clergyman by Theatre James Bridie, who founded the theatre in 1943 . During the season twelve plays were presented all of which were given three-week runs ; these included a number of elaborately staged productions such as Brecht 's The Caucasian Chalk Circle, Shaw's St . Joan and Wilde's An Idea l Husband, as well as two new plays by Scottish authors : That'll Be the Day by J. Bryden Rodgers and Roy Wilkie, and The Harmony Bugle by Bruce Baillie. The annual Shakespeare production (this year The Merchant of Venice) attracted over 16,000 people during its three week s' run at the theatre and , under Arts Council auspices, toured southern and central Scotland for a further two weeks ; the production was also taken to five Glasgow schools . In a period of six weeks this play was seen by over 17,000 children. In the autumn of 1965 a new small theatre is to be opened; adjoinin g the large theatre it will give the Citizens ' Theatre company the facility, unique in this country, of two stages in one building . The new theatre i s being designed on the `arena' plan and is intended for the production of new and experimental work . Helped by a renewed Corporation grant of £4,000 and increased ai d Dundee Repertory from the Scottish Committee the Dundee Repertory Theatre was able t o Theatre pursue a more vigorous policy . The repertoire system, introduced in August 1964, makes it possible for the company to perform each pla y two or three times a week over periods of from three to seven weeks , sometimes longer . There are normally three plays in the repertoire at on e time and the actors and staff enjoy a system which provides longer re- hearsal periods as well as a varied and frequently changing programme . Though some of the older theatregoers resent not being able to visit th e theatre regularly on the same night of the week for each production, th e new system seems to appeal to the younger playgoers, more of whom hav e been coming to the theatre since the scheme began. Emboldened by the steady increase in attendances during the season s Edinburgh Gateway 196263 and 196364, the Edinburgh Gateway Company presented several Company rather less obviously popular plays in 196465-The Fire Raisers (Frisch) , Marching Song (Whiting) and Anouilh 's Becket among others. The result s were by no means discouraging: audiences, though slightly smaller on th e average (but not for Becket which was very successful), were still larg e enough to make the season a success. It finished in March with Journey 's
49 End which turned out to be a curiously prophetic choice, for the announce - ment that the new Edinburgh Civic Theatre Trust would start produc- tions at the Lyceum Theatre at the unexpectedly early date of October 1965 came after Journey's End had been announced. Mr Moultrie Kelsall, chairman of the company, writes :
`The Council of the Gateway Company, having for twelve season s maintained professional repertory in Edinburgh in the hope that ultimately an organization with much greater resources would take over the responsibility, felt that its hope had been realized, its ai m achieved. While not suggesting that the new theatre would b e simply the Gateway Company writ large, it felt that two companies with similar policies would inevitably harm each other to some ex- tent-that there is not yet in Edinburgh a sufficiently large audienc e to support them both, and that the old venture should make way for the new. After the 1965 Festival production of The Man from Thermopylae by Ada Kay, the Edinburgh Gateway Company will b e wound up, passing on to the Edinburgh Civic Theatre Trust it s limited assets and its unlimited good wishes .'
Edinburgh Civic In May 1965 the newly formed Edinburgh Civic Theatre Trust took Theatre Trust over from the Corporation the running of the Royal Lyceum Theatre . The eight town council members of the Trust have been joined by Mr Alexander Reid, the Edinburgh playwright, and two ex-chairmen of th e Gateway Company, Mr Robert Kemp and Mr John Rankin. Mr Tom Fleming, the distinguished Scottish actor, has been engaged as Director and plans are already at an advanced stage for a resident season of plays in repertoire. The Scottish Committee has welcomed this venture and ha s offered a grant towards the running costs . Edinburgh Corporation ha s made available to the Trust the substantial sum of £32,000 for the first full financial year . Edinburgh : Traverse The Committee gave further financial aid to the Traverse Theatr e Theatre Club Club, chiefly by way of guarantees against loss for new plays recom - mended by the Committe e's Play Panel. Many of these were translations of one-act foreign plays receiving their first professional production in Great Britain; the Scottish dramatist, Tom Wright, contributed a full- length play, There Was a Man, in which John Cairney gave a dazzlin g solo performance as Robert Burns . A full list of the recommended plays is given in the section on New Drama . Perth Repertory Audiences at Perth Theatre remained at much the same level as in Theatre previous years . Productions included The Importance of Being Earnest, The Physicists, The Applecart, As You Like It, A Streetcar Named Desire , A Doll's House, The Petrified Forest and The Enchanted.
50
For ten weeks in the summer the company toured the rural districts o f Scotland with The Corn is Green and Goodnight Mrs Puffin. Pitlochry Festival Society 's season (April 18th-October 3rd) showed an Pitlochry Festival increase in attendances from 62 per cent in 1963 to 70 per cent in 1964, Society with `House Full ' boards out on three or four nights a week from mid- May to the end of September. Bridie's Daphne Laureola, directed by Toby Robertson, topped the popularity chart, closely followed by Coward's Present Laughter and the Anouilh/Fry Ring Round the Moon . Twelfth Night (chosen to mark the Shakespeare Quatercentenary), East Lynne and The Seagull (the last directed by Jack Witikka of the Finnish National Theatre) completed a highly successful programme . Attendances at the Byre Theatre were slightly reduced in comparison St. Andrews: with 1963 . Fifteen plays were presented, including Strindberg's The Byre Theatre Creditors and John Osborne's Look Back in Anger. This company 's contribution to the Shakespeare Quatercentenary was a presentation o f Much Ado About Nothing. The number of new plays submitted by the five larger repertory theatres New Drama Schem e for guarantees against loss on their first production was again disap- pointing. Only four plays were submitted by these theatres during the year, and only one of these was successful in gaining the Play Panel's recommendation; this was Armstrong's Last Goodnight by John Arden, presented by the Glasgow Citizens ' Theatre in May 1964, and the first to qualify for the new maximum guarantee of £500 . The Committee was, however, greatly encouraged by the large number of new plays presented by the Traverse Theatre Club in their tiny theatr e off Edinburgh's Royal Mile. This management submitted no less tha n sixteen plays in all (mostly short ones given as double or triple bills), o f which the following thirteen were recommended for guarantees agains t loss-The Detour by Martin Walser, Gallows Humor by Jack Richardson, Red Magic and Escorial by Michel de Ghelderode, Philipp Holz's Fury by Max Frisch, The Party and The Enchanted Night by Slawomir Mrozek, The Work-Out and The Recovery by Albert Bermel, The Motor Show by Eugene Ionesco, The Old Tune by Robert Pinget and There Was a Man by Tom Wright. A further play by Tom Wright, Pygmies in the Colosseum, was also recommended but has not so far been produced. The Citizens ' Theatre again co-operated with the Scottish Committee New Designers' Scheme by taking on as trainee designer Miss Sheila Godbolt, who was one of th e applicants recommended by the Arts Council's Drama Panel i n London. In March 1965 the National Theatre appeared for one week at the Visiting Companies King's Theatre, Glasgow with a distinguished cast, including the Director, Sir Laurence Olivier. The plays presented were Noel Coward's Hay Fever and Ibsen's The Master Builder.
5 1 Appointments, Retirements, Honours Scottish Committee The following retired from the Committee during the year : Councillor J. D. Kelly, the Hon. Mrs Michael Lyle, Mr James McNaught, Professor D. Talbot Rice and Mr George Singleton. The Hon. Mrs Lyle, Professor Talbot Rice and Mr Singleton were re - appointed for a further term. In addition the following were appointed to serve on the Scottish Committee : Mr Cedric Thorpe Davie, Mr Ronal d H. M. Mavor and Dr J. A. MacLean. The Committee heard with great pleasure that Mr Ian Finlay was appointed a Commander of the Order of the British Empire (C .B.E.) in the Queen's Birthday Honours List for 1965. Staff Dr George Firth, the Council's Director for Scotland, is due to retire during the year 196566. Mr Ronald H. M. Mavor has been appointed a s his successor . George Firth, O.B.E., D.Mus., L.R.A .M. --An Appreciatio n As Director for Scotland, Dr Firth has been the chief officer of th e Scottish Committee of the Arts Council of Great Britain for the pas t eighteen years, during which time he has been responsible to the Com- mitee for the whole of the work of the Council's Scottish Office. By the terms of his appointment he was given special responsibility for music . Dr Firth was the first occupant of the post and during his period of office the activities of the Scottish Committee have steadily expanded . Dr Firth's tact and skill in his relations with the Scottish Committee and its successive Chairmen, with the many people throughout Scotland who have sought the help of the Scottish Committee, with the Council 's staff in London and with the assessors appointed by the Secretary of State have been of high value. It is, however, in the field of music that his influence has been greatest. His knowledge of the subject is profound, his experience wide and hi s enthusiasm unbounded. His ambition has always been that the music provided or supported by the Committee should be only of the highest standard. To this end he has personally considered, adjusted and ap- proved the programmes of all concerts directly provided by the Committee . His pre-eminent position in the world of music in Scotland is evidenced by the appointments he has held: Chairman of the Scottish Musi c Advisory Committee of the B.B.C. ; Member of the Council of the Edin- burgh Festival Society; Director of the Scottish National Orchestra Society Ltd . Dr Firth carries with him into his retirement the thanks and goo d wishes of the Scottish Committee and of his many friends and admirer s throughout Scotland.
52
Wales
One of the most significant features of the White Paper A Policy for the Arts is its emphasis on reviving the cultural life of the provinces. This implies more than the importation of activities from London, or th e creation of institutions based on metropolitan models . To be genuine and . lively, the arts must be a reflection of the distinctive life of each region . Wales is a nation with its own traditions and language and, despite a long history of isolation and poverty, it has never lost the belief that it has a n individual contribution to make to the Arts . At the same time it must be admitted that the cultural life of Wales would be greatly impoverishe d without visits from international orchestras and soloists, London-base d opera, ballet and theatre companies, and without exhibitions organized by the Arts Council's London office. The Welsh Committee of the Art s Council gives its enthusiastic support to all these ventures . Even so, the Committee's ultimate aim must be to encourage major promoting organizations within Wales itself . It is only then that Wales can make its own special contribution to the cultural well-being of Great Britain . This thesis is borne out by the history of the Welsh National Opera Welsh Nationa l Company. When the Company was formed in 1948 there was little or no Opera Company tradition of grand opera in Wales . The Company derived its strength fro m the rich non-conformist tradition of canu cynulleidfaol (congregationa l singing) and on its ability to recruit choristers nurtured on oratorio an d eisteddfodau . It is no accident that the Company 's first significant succes s was the revival, in 1952, of Verdi 's Nabucco . This opera not only exploited Welsh talents, but also engendered an immediate response in Welsh audiences . Between 1952 and 1963 Nabucco was performed sixty-eight times. After this initial success the Company revived other Verdi opera s
55
as well as rarely performed works by Rossini, Boito and Rimsky-Kor- sakov. These operas were revived not from any antiquarian interest, o r even because they were so well suited to the Company, but rather becaus e their fresh and direct appeal made them immediately accessible to ne w audiences. Better-known operas were also introduced, so that by today the Company has twenty-nine operas in its repertoire, ranging from The Marriage of Figaro to works by the contemporary Welsh compose r Arwel Hughes. Because of the efforts of the Welsh National Oper a Company, opera is becoming a popular art form in Wales, as it was i n Verdi's Italy-a situation which has not previously existed in Britain. During 1965 Cardiff, with its population of 250,000, is supporting si x weeks of opera (four weeks by the National Opera Company and two b y Sadler's Wells). The extent of this provision can be measured by com- parison with other British cities . At this rate Bristol should be able t o support ten weeks of opera, Liverpool eighteen weeks and Birmingham a t least twenty-five weeks . The Welsh National Opera Company is confident that, given the opportunity, it could play for twelve weeks in Cardiff (six weeks in the spring, and six weeks in the autumn) . By also playing a t Swansea and Llandudno, the Company's major productions are brough t within reach of most parts of Wales, while its `Opera for All' Group penetrates even the most rural areas. The greater the amount of opera played in Wales, the more discrimin- ating audiences become . The Opera Company has responded by raisin g its own standards. The Company now has a permanent organization which includes a director of productions, a musical director and hi s assistant, chorus master, designer, and their auxiliary staffs . Increased financial aid from the Arts Council and from local authorities has mad e possible more rehearsals for soloists, chorus and orchestra and mor e elaborate and better designed decor . This increased professionalism has in no way changed the individual character of the company : it remains peculiarly Welsh . Whatever plans are formulated for increasing the amount of opera outside London, the Welsh National Opera Compan y must have a part to play . Welsh Theatre The Welsh National Opera Company has been in existence for eightee n Company years, the Welsh Theatre Company for three years . The Opera Company has an individual musical tradition on which to build ; the only inheritanc e of the Welsh Theatre Company is a recently developed tradition of amateur drama. The Opera Company has an adequate theatre base in Cardiff; the Welsh Theatre Company has no such base-it is doomed t o the life of a band of strolling players . The Theatre Company has, however , done invaluable pioneering work . It has shown that a Welsh National Theatre must, of necessity, be different from such companies in Englan d or France: it must be forward-looking and missionary . Its aims will be: to
56 create a permanent organization with its own producer, actors, designers , and technical staff; to provide for drama in both Welsh and English ; to evolve an individual style; to provide a platform for contemporary Welsh playwrights in both languages; to encourage new audiences throughou t Wales and amongst every age group ; to involve local authorities and as many organizations and individuals as possible, so as to create a trul y national movement. The work of the Welsh Theatre Company has shown that to achiev e these aims at least three factors must be taken into account : the geo- graphy of Wales which makes travel between north and south difficult , and which tends to isolate one community from another; the concentra- tion of the Welsh-speaking population in the north and west ; the general lack, throughout the country, of adequate facilities for presenting pro- fessional drama . Without a base theatre in Cardiff and without adequatel y equipped theatres at four or five centres throughout Wales, no Nationa l Theatre Company can develop. A national drama company must always provide for the remotest rural community, but no company of standar d can exist today doing this work alone . The first step in creating a National Theatre should, therefore, be t o build a theatre in Cardiff and a theatre in the north-at Bangor ; the former as a centre for English productions, the latter for Welsh pro- ductions. There would be an exchange of productions between the two centres. This is a scheme which recognizes the geographical and linguistic divisions of Wales, but at the same time unifies the country . The Wels h Theatre Company has already made arrangements with the B .B.C. to employ a group of Welsh-speaking actors, contracted to both the B .B.C. and the Welsh Theatre Company . This ensures the existence in Wales for the first time of a core of professional bilingual actors who can be calle d upon to perform on radio, television and the stage . The National Theatre at Cardiff should be designed exclusively fo r drama. As headquarters of the National Theatre Company, it should have a generous provision of rehearsal rooms, workshops and ancillary services . It should have a reception room for visitors from other theatre centres i n Wales, and a restaurant . The stage dimensions and equipment should enable large-scale and complex productions to be performed . To ensure a vital audience-actor relationship, the auditorium should seat under a thousand people. The potential audience in Cardiff, for plays with a thre e or more weeks run, would suggest a seating capacity of 500 to 700 . An initial estimate has suggested that such a theatre would cost £500,000 . It is hoped to raise this sum by grants from local authorities ; from the Government through the Welsh Committee of the Arts Council ; by public subscription . Given a large enough site it would be advan- tageous, if the Cardiff City Council supported the idea, to make th e
57
National Theatre the first stage of an arts centre, occupied also by a municipal concert hall and opera house complex and also by a municipal art gallery. The Bangor Theatre could not be used by the National Theatre Com- pany for more than twelve to fifteen weeks a year. To be viable it would, therefore, also have to be used by the University College of North Wales for student productions and for courses organized by the College, as wel l as by visiting companies from other theatres and by amateur groups. The needs of the College and the Theatre Company would be met by a theatr e seating 450 . The Theatre Company would, however, require stage dimen- sions similar to those at the National Theatre in Cardiff and mor e elaborate facilities than would be needed by the College . It would be an advantage to include provision for art exhibitions. There should be close collaboration between the architect of the Bangor Theatre and the National Theatre architect. It is estimated that the Bangor Theatre will cost £125,000 . The Univer- sity College will provide an excellent site (convenient for the College, th e town and for visitors from other parts of North Wales) and also a capita l grant. The remainder of the capital cost would have to be borne by the Welsh Committee of the Arts Council, local authorities and the public. The purpose of the Arts Council grant would be to ensure the inclusion of the additional facilities needed by the National Theatre Company. To emphasize the dual purpose of the theatre it might be named `The Nort h Wales University College and National Theatre' . This is an ambitious scheme; to come to fruition it will need the en- thusiastic support of the whole of Wales. Creating a National Theatre Company of high standard, with its own style and character which re- flects Welsh life, will take many years. It is thus important that the schem e be launched as soon as possible . Anglesey Any plans for furthering drama, music and the visual arts depend on Arts Fund the enthusiastic participation of communities all over Wales. One of the best examples of local initiative is the work of the Anglesey Rural Community Council in organizing the Arts . In addition to providingthe local organization for orchestral concerts, plays and exhibitions, the Council has developed its own Welsh Drama Festival and Music Festival. It was, therefore, appropriate that the Welsh Committee should choose Anglesey for a new experiment in providing for the Arts. In 1964 the Rural Community Council established a County Arts Fund with the objec t of co-ordinating, organizing, and financing the major artistic projects on the island, which aim at high professional standards . This will give local responsibility for providing for the Arts; it will facilitate long-term plan- ning and enable more ambitious schemes to be introduced than has bee n possible hitherto .
58 The Welsh Committee contributed £2,100 to the fund, the Anglesey County Council £300 and the eight district councils of Anglesey £300 (th e equivalent of 1 /15th of the product of Id . rate) and the Gulbenkian Foundation also gave a grant of £1,000 a year for three years. With these resources the Community Council was . responsible for organizing the Anglesey Music and Drama Festivals, visits by the Royal Liverpoo l Philharmonic Orchestra and the London Philharmonic Orchestra, and th e Welsh Theatre Company . There were also a number of exhibitions o f works gathered together by the Arts Council and by the South Wale s Group, as well as those by local artists . Financial aid was given to the Theatr Fach, Llangefni and the Anglesey Music Club, and pictures wer e purchased for a county collection. The Anglesey Arts Fund is a model for the future patronage of the Arts in North Dales Wales. In an attempt to extend the idea of an arts trust to the whole of Arts Advisory North Wales, the Welsh Committee has now set up a North Wales Arts Panel Advisory Panel to review the organization and financing of the Arts i n North Wales, to co-ordinate existing Arts Council sponsored activities ; and to co-operate with local authorities and other organizations toward s establishing a North Wales Arts Trust . Sir Ben Bowen-Thomas has agreed to be Chairman of the Panel and Mr J . O. Jones, Secretary of the Anglesey Rural Community Council, has been appointed its Secretary . The Panel will have its headquarters at Bangor; it will be an independent organization receiving grant aid from the Welsh Committee . The following members of the Welsh Committee retired at the end of Welsh Committe e 1964: Lady Amy Parry-Williams and Professor Brinley Thomas . Mr Alex J . Gordon and Mr Iorwerth Howells were re-appointed for a furthe r term. New appointments to the Committee were : the Lady Ruth Eldryd d Davies and Professor W. J. G. Beynon .
59
Music, Opera and Ballet Appendix A
Two events have dominated the general scene during the year 1964/65 . On February 1st Music the Royal Festival Hall was re-opened after a closure of eight months, during which perio d the building was completed to a final plan involving numerous additions, modifications an d improvements. Judging by the marked increase in concert attendances, these have proved Orchestral Music in to be welcome to the public, though it remains to be seen whether this is a novelty, a pass- Londo n ing phenomenon, or whether there has been a resurgence of interest in concert-going, with new comforts and amenities, which will be maintained in the future . An encouraging omen is the unqualified success of the first experimental scheme of `vouchers' at concession prices which was inaugurated after the hall re-opened . The entire allocation of 5,000 books, each containing ten vouchers, was taken up within a day or tw o of being offered for sale . The scheme is being continued and extended during the coming season . Depressing attendance statistics over the pre-closure years were a much discusse d feature of the Report by the Committee of Enquiry on the London Orchestras . This body, set up by the Arts Council in consultation with London County Council, with Mr Arnol d (now Lord) Goodman as Chairman, worked intensively over a three-months ' period in investigating the complex problems of London's four principal orchestras and making recommendations for rationalizing the situation and financing the orchestras on a more realistic basis . The findings and recommendations of the committee are discussed i n another section of this report. Meanwhile, the Arts Council/London County Council Joint Orchestral Committee con - tinued to allocate funds in the form of guarantees against loss on concerts presented b y three of these orchestras at the Royal Festival Hall, and during the closure of that building , at other halls in the Metropolitan area . The total `pool' of money provided by the Art s Council and the L.C.C . rose from £72,000 to £78,000 . The brilliance and success of the London Symphony Orchestra's Diamond Jubilee London Syntphony celebrations were clouded by the sad news of the death of the orchestra 's principal con- Orchestra ductor, Pierre Monteux . During the past decade M . Monteux paid frequent and regular
63 visits to this country and many of the performances he gave with the orchestra in recen t years were landmarks in London's concert life. His benevolent and authoritative figure on the rostrum is greatly missed since he was affectionately respected by players, manage- ment and audiences alike. The young Hungarian conductor, Istvan Kertesz, succeeds him . While the Royal Festival Hall was closed the orchestra undertook a world tour in which, during an eleven-week absence, they travelled over 30,000 miles giving fifty-five concerts in thirty-two cities. Travelling westwards to the United States of America, through the Far East, India, the Middle East and Israel, the orchestra's triumphant progress round the globe was completed at London Airport four minutes ahead of schedule . At the Royal Festival Hall the orchestra attracted large audiences at some twenty concerts; the programmes included not only popular works conducted by distinguishe d international figures, but a good proportion of less-known and contemporary works by British and foreign composers . London Philharmonic The London Philharmonic Society gave a series of twenty-nine concerts with the Londo n Society Philharmonic Orchestra . From October 1964 to February 1965 during the closure of th e Royal Festival Hall concerts were presented in the Royal Albert Hall (seven), the Fairfield Hall, Croydon (four), the Regal Cinema, Edmonton (two) and, at other times in the Roya l Festival Hall . A `pilot' concert for a `Youth & Music' audience and a Musica Viva pro- gramme introduced by the orchestra's Artistic Director John Pritchard, were speciall y noteworthy, as well as the appearance of two important conductors new to London - Rafael Friibbeck de Burgos and Eugene Svetlanov. New Philharmonia A first year full of activity found the New Philharmonia Orchestra firmly established i n Orchestra the London musical scene with no apparent loss of the public support which the Phil - harmonia Orchestra had attracted. From its inception the new management participated fully in the joint Arts Council/London County Council Scheme and eleven' programmes were presented at the Royal Festival Hall, the Royal Albert Hall and the Fairfield Hall , Croydon . The high level of individual artistry and corporate orchestral performance that has bee n maintained since the orchestra was re-formed can be attributed not only to the talents of individual members within the orchestra, but to the continuing loyalty and support of Dr Otto Klemperer and other internationally famous conductors and soloists . Royal Philharmonic Surrounded by generous publicity, the players of the Royal Philharmonic Orchestra , Orchestra now incorporated as Rophora Ltd., a player-controlled management, have made a dramatic bid for survival in extremely hazardous circumstances . Under their former management the orchestra had neither sought nor received financial assistance from the Arts Council , and during the early part of the year under report the Council was unable to provide fund s in response to their urgent call for help . As the crisis developed however during the late autumn, the new Government, conscious of the impending enquiry into the problems of the London orchestras, decided to make special funds available, as a matter of emergency, to ensure the survival of the orchestra-at least until decisions could be taken on the recom - mendations arising from the Enquiry. This rescue operation enabled the orchestra to continue the series of Sunday concerts which had already been launched at the Odeon Cinema, Swiss Cottage, through the re- mainder of the year and-with further special funds-maintain them until the summe r
• During the year three concerts by the Philhartnonia Orchestra were presented by the Philha=oni a Concerts Society .
64 recess. While there appears to be some evidence that a ' new public', apart from that which patronises the Royal Festival Hall, is being tapped through this project, the statistics ar e not yet good enough to establish a proven need for the future. The orchestra will, however, participate in the new arrangements advocated in th e `Goodman' Report and its future, in common with the other orchestras, will be dependen t upon the outcome of its activities as reviewed by the new London Orchestral Concert Boar d proposed in the Report . The customary pattern of concerts in the South-East and Home Counties was under- London Philharmonic taken by the London Philharmonic Orchestra, which presented a total of fifty concerts in Orchestra . Concerts all. Of special interest among the places visited during the season was Eastbourne where, outside London in the new Congress Theatre, eight concerts were played before capacity audiences . Publi c support for orchestral concerts in the vicinity has developed so remarkably over the past twenty years that full houses are now assured for the more adventurous programmes , originally designed for the orchestra's Royal Festival Hall concerts . Good audiences were also a feature of another season of Industrial Concerts given at th e Royal Albert Hall . No fewer than three hundred industrial and commercial organization s now participate in this series, thus enabling large numbers of organized parties of employee s to attend concerts for which special transport facilities and admission prices are available . The remarkable development of orchestral concerts during the past two decades in the Eastern Authorities ' area including the Northern Home Counties, the East Midlands, Lincolnshire and East Orchestral Association Anglia led to a large-scale review of concert provision in the region which, hitherto, ha d been undertaken exclusively by the London Philharmonic Orchestra . At a large conference of Local Authority representatives, held in The Senate House, Cambridge, in Novembe r 1964, outline plans for an extended and more comprehensive scheme of concerts through. out the area were proposed, and these were unanimously found to be worth furthe r investigation . Subsequent endorsement by the Councils of the Local Authorities concerne d encouraged the formation of the Eastern Authorities Orchestral Association which will no w promote the concerts drectly,i utilising the services of both the London and Provincia l orchestras. During the year the permanent strength of the orchestra was increased to eighty-eight City of f Birmingham players . This facilitated not only some improvement of working conditions but a wider Symphony Orchestr a Choice of repertoire. Of eleven works new to Birmingham audiences six were by living British composers. Stravinsky's Le Sacre du Printemps was included in the orchestra' s programmes for the first time . In this the orchestra was joined by the B.B .C .Midland Ligh t Orchestra and the combined force of some 120 musicians was conducted by Hugo Rignold . An extensive musical programme formed part of the Shakespeare 400th Annivesary celebrations at Stratford upon Avon. A cantata by John Gardner entitled The Noble Heart was commissioned for the occasion by the Feeney Trust and the orchestra took part in its first performance . In addition to the customary series of concerts in Birmingham and many other Midlan d Towns, the orchestra appeared at the Three Choirs Festival in Hereford, and in two season s with the Welsh National Opera Company. The year's schedule which included a number of B .B .C. broadcasts and schools concerts comprised 212 performances in all. The Bournemouth Symphony Orchestra gave 187 performances during the year includ- Bournemouth ing broadcasts, seasons with the Welsh National Opera Company and schools concerts . Symphony Orchestra The programmes included twenty-one works which were new to Bournemouth, and British
65 music was well represented, including Malcolm Rayment's Sinfonia Concertante (Symphony No 1) and Symphony in One Movement by Robin Orr . Through the Western Authorities Orchestral Association 123 Local Authorities sub - scribed £46,786 including Bournemouth at £28,500 . This marked increase over last year' s figure is tangible evidence of the growing status of the orchestra in its own region, and makes it possible to provide a larger and better service of concerts in the area . Halle Orchestra Sir John Barbirolli, conductor in chief of the Halle Orchestra, d irected half the number of concerts presented during the year and recorded Elgar's Second Symphony and Falstaff. The remainder were conducted either by his assistant conductors Lawrence Leonard an d Maurice Handford, or by guest conductors . The 107th Season's programmes included ten works new to Manchester audiences, an d many important British works, of which Humphrey Searle's Symphony No 5 received it s first performance. The Bradford Subscription Concerts Society celebrated its Centenary, an event whic h not only marked 100 years of concert giving in Bradford but of continuous association wit h the Halle Orchestra . In all, 210 performances during the year were given, mainly i n Lancashire and Yorkshire, but also during tours in the South of England, with several con - certs in London . During April 1965 the orchestra made its second tour of Switzerland an d visited Milan . Royal Liverpool The Royal Liverpool Philharmonic Orchestra's total of 216 concerts included seventy- Philharmonic seven performances in the Philharmonic Hall, twenty appearances in other towns, an d Orchestra fifty-two engagements for other promoting bodies in the North-West and elsewhere a s well as numerous schools concerts. Programmes included a number of first performances in Liverpool . A high average attendance was maintained and a record box-office income was credited to the annual series of Industrial Concerts which had their origins in Liverpool, and which are now a feature of concert life in every big city in the country . The Society's 125th anniversary was celebrated on March 12th with a special concert which included performances of Sir William Walton's Belshazzar's Feast, the Third Symphony of Alan Rawsthorne, and Elgar's Pomp and Circumstance March No 1, whic h was first performed in Liverpool. In conjunction with the B .B.C. Northern Orchestra , Mahler's Eighth Symphony was given in Liverpool Cathedral with a large choir drawn from no fewer than seven local societies. This mammoth undertaking was conducted by th e orchestra 's Musical Director, Charles Groves, who also directed the Society's Thir d International Conductors' Competition . The three prize winners, Moshe Atzmon (Israel) , Ernst Barthel (Germany) and Paul Jorgensen (Denmark), subsequently appeared with th e orchestra at concerts in the Philharmonic Hall. Northern Sinfonia The Northern Sinfonia orchestra-our only permanent Chamber Orchestra-has com - Orchestra pleted a successful year of 140 concerts under its two conductors-Rudolf Schwarz an d Boris Brott . This total includes a regular series of concerts in the main centres of the North-East, schools concerts and visits to London, Croydon, Manchester, Birmingham , Bristol, Aberdeen, Glasgow and Edinburgh. Despite an increase in admission prices, attendance figures have risen by over 50 pe r cent in Newcastle and by a slightly lower percentage in Darlington and Middlesbrough . Distinguished international artists continued to appear with the orchestra, which has maintained its policy of giving a series of Connoisseur Concerts, at which the first perfor - mance of a work by David Barlow and two works by Alexander Goehr were included . For
66 the first time the orchestra has visited several public schools and has also been engaged t o accompany the Palatine Opera Group at Durham in Lucretia Borgia by Donizetti and the Northern Opera at Newcastle in Verdi's Force of Destiny and Gounod's Faust . Tyne-Tees Television presented the orchestra in thirteen half-hour appearances entitle d `The Magic of Music' . This is the first time that any orchestra in this country has bee n offered a series of this kind. Important engagements during the year for Philomusica of London have included tw o Chamber Orchestras visits to Western Germany, the first for three concerts in May 1964 and the second for sixteen concerts in February 1965 . Both visits were outstandingly successful and th e orchestra was given a most enthusiastic reception . Further visits have now been booked for the next two years. The orchestra has also taken part in the English Bach Festival at Oxford, the City of London Festival, and the Aldeburgh Festival, and has in addition give n its usual series of promotions in London (at the Royal Festival Hall and the Victoria an d Albert Museum) and the provinces. A new venture has been the promotion of a series o f Serenade Concerts at the newly re-dedicated Church of St Mary le Bow in the City o f London . The orchestra has also made a tour of Wales under the sponsorship of the Arts Council , and has taken part in the seasons of opera presented by the Handel Opera Society a t Sadler's Wells and by the National School of Opera Young Performers' Fund at the open- ing of the Jeanetta Cochrane Theatre . Under its Artistic D irector, George Malcolm, it has also made a recording of Bach's The Art of Fugue which has received excellent notices. The English Chamber Orchestra and Music Society presented three concerts at the Commonwealth Institute early in the new year . They were all conducted by Raymond Leppard and comprised works by Bach, Handel, Haydn and Monteverdi . For the first two performances there were capacity houses, and for the Monteverdi programme of Songs of Love in various moods and forms public support was only marginally lower. The present lease of the Wigmore Hall held by the Arts Council comes to an end o n The Wigmore Hall December 25th, 1965, but the Council has agreed terms with the Wigmore Hall and Piano Galleries Ltd. for a new lease covering a further seven years . The Royal Philharmonic Society's 153rd season included performances at the Roya l Royal Philharmonic Albert Hall of two large-scale British choral works-Delius's A Mass of Life, which ha d Society not been heard in London for several years, and A War Requiem by Benjamin Britten . The Society continues to award the Kathleen Ferrier Scholarship and the Composition Awards for student composers, and will shortly be announcing an International Violi n Scholarship to be inaugurated through the bequest made to the Society by the late Mis s Emily Anderson . The Brighton Philharmonic Society celebrated its fortieth anniversary in a busy seaso n Brighton Philharmonic of fourteen symphony concerts, most of which were directed by the Society's Musica l Society Director, Herbert Menges, who has held this post throughout the life of the Society . Both season ticket holders and average attendance statistics were the highest for many years . Apart from four works by distinguished foreign musicians, the entire season of six Contemporary Musi c programmes presented by the Macuaghten Concerts was drawn from the works of contem - Societies porary British composers. First performances were features of every programme, includin g a large-scale chamber ensemble concert which was given in association with the S t Pancras Arts Festival . For this the English Chamber Orchestra, seven soloists and th e Ambrosian Singers under Norman Del Mar came together for a concert in the Friends ' House, Euston Road where they performed Lennox Berkeley's Stabat Mater, Peter Maxwell
67
Davies' Five Motets, Paul Hindemith's Kammermusik No 4, and the Conticism Sacrum b y Igor Stravinsky . A seventh concert, marking the sixtieth birthday of Alan Rawsthorne, was mounted after the season had closed in London, at the 1965 Cheltenham Festival . The Society for the Promotion of New Music continued to present concerts both i n London and in provincial university towns . In collaboration with the music section of th e Institute of Contemporary Arts the S.P .N.M . presented a concert at the Summer School of Music held at Wardour Castle . The I .C .A. (Music Section) also mounted three concerts in London, the third of which contained four works (by Gordon Crosse, Robert Sherlaw Johnson, Neville Gambier an d Harrison Birtwistle) each of which had been specially written for the concert, during which it received its first performance . National Federation The assistance given by the Council to local music clubs and societies, in all the mai n of Music Societies cities and towns of England as well as in hundreds of smaller centres, is offered to them ind irectly, through their own organization founded in 1935, the National Federation of Music Societies, to which the Council makes an annual grant . The following details have been supplied by the Secretary of the N.F .M.S . Membership Sixty-three new societies were affiliated during the year, bringing the overall member- ship in Great Britain to : Choral Societies 50 3 Orchestral Societies 14 6 Choral and Orchestral Societies 6 0 Chamber Music Clubs 224
93 3
Of the total increase of sixty-three, thirty-three are chamber music clubs and twenty - three choral societies .
Financial Aid Five hundred and thirteen larger clubs and societies in England were offered guaran- tees towards the cost of professional conductors, solo artists and orchestral player s taking part in public concerts: 358 Choral and Orchestral Societies £33,21 8 155 Music Clubs £7,056 In addition, fifty-nine smaller clubs were offered guarantees amounting to £730. (For information about N.F .M .S. societies in Scotland and Wales, see the section s devoted to activities in these countries. ) Regional Activitie s Once again, many Regional Committees arranged study sessions for choir members under the guidance of well-known professional conductors in order to introduce ne w works to the repertoires of societies . Special `Conductors' Days' were held in thre e Regions under expert supervision and these were most popular .
Orchestral Incentive Schem e Awards were offered to orchestral societies for showing special enterprise in th e season's activities . Among the stipulated requirements were the inclusion of a twentieth -
68
century work and an engagement for the winner of the N .F .M.S . 1964 Competition (see below) as soloist . The award was intended to cover the expenses of the soloist, the cos t of the music and an extra rehearsal. This proved very popular and there was a large number of entries . Seven societies shared the total award of £300.
N.F.M.S. Award for Young Concert Artists, 1964 (Strings ) Winner : Frances Mason (violin) who received a small cash prize and nearly thirt y engagements with affiliated societies in all parts of the country. The runner-up was Charles Tunnell ('Cello) . Adjudicators: Dr W . K . Stanton, Messrs . Sidney Griller, Bernard Shore, and Willia m Pleeth . Mr Griller also judged the preliminary heats . The 1965 Award, for young woodwind players, was won by Janet Hilton (clarinet ) with Clarissa Melville (flute) and Celia Nicklin (oboe) as runners-up . The 1966 Award will be for young sopranos.
Annual Course for Conductors Held at the Royal Academy of Music, London, on September 18th and 19th, 1964. It was attended by forty-eight conductors, and the lecturers and tutors were : Sir Adrian Boult, Myers Foggin, Charles Groves, Roy Henderson, David Martin an d Graham Treacher . Sir Thomas Armstrong, Principal of the R.A .M . and President of the N.F .M.S., als o addressed the Course .
Annual Conferenc e Held at Hastings on April 25th and 26th, 1964, and attended by some 300 delegate s from all over Great Britain . The speakers were Mr Nigel Abercrombie, Secretary-Genera l of the Arts Council of Great Britain, and Mr A . Thatcher. During the Conference, a concert was given by the Aeolian String Quartet and the Final adjudication of the N.F .M .S . 1964 Award (strings) took place .
In addition to the help (described elsewhere) given to major arts and music festivals, Other Music principal orchestras, and N.F .M. S . societies, the Council assisted the following concerts in Activities England at the places mentioned : they include those given by the London Mozart Player s (Haydn-Mozart Society) and by a number of orchestras operating in particular region s e .g . the Southern String Orchestra (Southern Orchestral Concert Society) .
ALRESFORD BATTLE Southern Orchestral Concert Society (1 ) Haydn-Mozart Society (1 ) ALVERSTOKE BEDFORD Southern Orchestral Concert Society (1 ) Midland Sinfonia Concert Society (1) AMBLESIDE BEVERLEY Third Lake District Festival (1 ) St John of Beverley Festival (2 ) ARUNDEL BIRMINGHAM Southern Orchestral Concert Society (1 ) Orchestra da Camera: Eighth season (6) BARNET BRISTO L Barnet Music Society (3) Bristol Sinfonia Limited (5)
69 BROMSGROV E HIGH WYCOMBE Fifth Bromsgrove Festival of Music( 16 ) First High Wycombe Arts Festival (1) CAMBRIDGE HOUNSLOW Chelsea Opera Group (3) Hounslow Concert Society (1) Haydn-Mozart Society (1 ) ILKESTON CARTMEL Midland Sinfonia Concert Society (1 ) Third Lake District Festival (1 ) ILMINSTE R CHELTENHAM Haydn-Mozart Society (1 ) Haydn-Mozart Society (2 ) IPSWICH Midland Sinfonia Concert Society (1 ) Ipswich Civic Concerts (3) CHICHESTE R ISLEWOPT H Southern Orchestral Concert Society (1 ) Hounslow Concert Society (1 ) COVENTRY KENDAL Coventry Orchestra and Chamber Music Third Lake District Festival (1 ) Society (1) KINGSTON UPON THAMES Haydn-Mozart Society (1 ) Thames Concerts Society (3) CROME R LEAMINGTON Haydn-Mozart Society (1 ) Albion Orchestra Society (1 ) DAWLIS H LEEDS Eleventh Dawlish Arts Festival (5) Twentieth Century Music (5 ) DERBY LEICESTER Haydn-Mozart Society (1 ) Midland Sinfonia Concert Society (1 ) DORCHESTER ABBEY LINTON, Cambridgeshire Fifth Dorchester Abbey Festival (4) Sixth Linton Music Festival (7) DORKING LONDON Haydn-Mozart Society (1) Elizabethan Singers (2 ) EASTBOURN E Fine Art Orchestra Society (1 ) Haydn-Mozart Society (1 ) Handel Opera Society's Chorus (1) EAST MEON London Bach Society: Cantata Series (3) Southern Orchestral Concert Society (1 ) Musica Antica a Nuova (2) EXETER Opera-Concerts Limited (1 ) Haydn-Mozart Society (1) Park Lane Group (2) Polyphonia Limited : Bruckner Festival (4 ) GLOUCESTER Presentation of New Artists Society (3) Midland Sinfonia Concert Society (1) St. Clement Danes Music Society (2 ) GRASMERE South Place Sunday Concerts (25) Music Committee of the Grasmere Paro- Tilford Bach Festival Choir (1 ) chial Church Council (1) MANCHESTE R HALIFAX Manchester Mozart Orchestra Society (4) Halifax Arts Council : Spring Festival Manchester Tuesday Mid-day Concert s 1964 (11) Society (24) HARROGATE MANSFIELD Yorkshire Brass Bands Summer Festival Midland Sinfonia Concert Society (1) (1) MICKLEHAM HAVANT Eleventh Mickleham and Westhumbl e Southern Orchestral Concert Society (1) Music Festival (5)
70 MIDHURST ST BEES Southern Orchestral Concert Society (1 ) Seventh St . Bees Festival of Music (2) NORTHAMPTO N SALISBUR Y Midland Sinfonia Concert Society (1 ) Southern Orchestral Concert Society (1) NORWICH SHEFFIELD : Cantata Series (3 ) Haydn-Mozart Society (1) Sheffield Bach Society SOUTHAMPTO N OXFORD Haydn-Mozart Society (1 ) Chelsea Opera Group (3 ) STROUD Church Music Association (3 ) Orchestra da Camera (1 ) Haydn-Mozart Society (1) SUTTON COLDFIELD Park Lane Group (1 ) Sutton Coldfield Philharmonic Society: PLYMOUTH Thirty-sixth Season (4) Haydn-Mozart Society (1) TILFORD READING Twelfth Tilford Bach Festival (3 ) Haydn-Mozart Society (1) WALTON ON THAME S ROGAT E Festival of the Arts (3 ) Southern Orchestral Concert Society (1 ) Third Brooklands RUGBY WEYBRIDGE Midland Sinfonia Concert Society (1 ) Third Brooklands Festival of the Arts (1 ) SAFFRON WALDE N WINCHESTE R Fourth Saffron Walden Festival (1) Southern Orchestral Concert Society (1 ) ST ALBANS WINDERMERE First St . Albans Festival (4) Third Lake District Festival (1)
Detailed information about the Covent Garden Opera and Royal Ballet companie s Royal Opera Hous e continues to be published in the Annual Reports of the Royal Opera House . The 1964/6 5 report is likely to be available during the autumn of 1965 . Sadler's Wells recently published a report covering two years 196263 and 1963/64 with Sadler's Well s similar information and its next report will appear early in 1966 . The following notes record briefly the work of other opera and ballet companies wh o receive support from the Council: In the autumn of 1964, the English Opera Group led by Benjamin Britten and Pete r English Opera Group Pears, undertook an extensive tour of Russia . With a repertoire consisting of Albert Herring, The Turn of the Screw and The Rape of Lucretia, their performances in Moscow , Leningrad and Riga won golden opinions from musicians and public alike . The tour wa s acclaimed as one of the most important musical events in the Anglo-Soviet cultura l exchange programme . At Aldeburgh Festival 1965, the Group presented a new and revised version of Let's Make an Opera, together with further performances of Curlew River in Orford Church. The latter work has also been presented at Rosehill Theatre and in certain towns i n France and Belgium. The New Opera Company gave two performances of Arthur Benjamin's Tartuffe at New Opera Company Sadler's Wells in November 1964 . This, his fourth opera, was in short score only when the composer died, and the important tasks of `realization' and orchestration were entruste d
71 to Alan Boustead who conducted the performances . Peter Ebert produced the opera using the Oliver Messel sets for Richard Strauss' Ariadne auf Naxos (Part I) generously lent b y the Glyndebourne Festival Opera . The Company's production of L'Heure Espagnole was taken into the Sadler's Well s repertoire in March 1965 as a companion piece to a new production of the same com- poser's L'Enfant et les SortiDges. Handel Opera Society For their 1964 production at Sadler's Wells, the Handel Opera Society chose Riccardo I and were fortunate to secure the services of Richard Lewis in the name part . Semele, per- haps the most popular of all the works so far presented by the Society, was revived again for three performances. The 1965 season took place after the end of the year; this marked the Society's tenth anniversary, and a special production of Saul with Geraint Evans in the title role wa s mounted for the occasion, together with a revival of their 1961 production of Rinaldo . In the last decade the Society has presented twelve different operas or dramatic oratorios, some of which had not been seen on the stage in London since the composer's death . Thi s notable achievement has had great influence in stimulating the renaissance of interest in Handel as one of our greatest composers for the theatre . Intimate Opera Forty-four performances were given throughout Great Britain by the Intimate Opera's `Company of Three' at music clubs, festivals, repertory theatres, teachers' training college s and schools . Opera for All 1964/65 was Opera for All' s sixteenth season. Three groups again went out on tour, eac h with a repertoire of three programmes and gave a total of 245 performances. All thre e groups were assembled and prepared for the Council by independent professional operatic organizations, Group 3 by the Welsh National Opera Company and Groups 1 and 2 by th e London Opera Centre.
Groups presented for the Arts Council by the London Opera Centre and based on London . Director : Douglas Craig . Musical Director: James Robertson . Group 1 : Sixty-eight performances in England and seventeen in Scotland. Repertoire: Rossini's Cinderella; Puccini's La BoUme; Donizetti's The Night Bell preceded by Bizet's Doctor Miracle or by Menotti's The Telephone. Group 2 : Seventy-seven performances in England . Repertoire: Mozart's Cosi fan Tune ; Donizetti's Don Pasquale; Puccini's Th e Cloak preceded by Wolf-Ferrari's Susanna's Secret .
Group presented for the Arts Council by the Welsh National Opera Company an d based on Cardiff Director : John Moody . Musical Director : Eric Wetherell Group 3: Fifty performances in Wales and thirty-three in England . Repertoire: Mozart's Cosi fan Tutte; Cimarosa's The Secret Marriage; Verdi' s La Traviata.
Most of the above operas had been toured by Opera for All in previous seasons. The Night Bell, Doctor Miracle and Susanna's Secret were all new additions to the repertoire and ar e being brought forward to the 1965/66 season. (The Telephone was substituted for Doctor Miracle at an early stage in the season, but will not be revived.) Cosi fan Tutte, the first opera to be taken into the repertoire, has been successfully toured in no fewer than eigh t
72
previous seasons ; this was the second season in which it has been played simultaneously by two groups. The Secret Marriage was in the repertoire for a third consecutive season . The Council gave assistance to a number of local opera groups towards the professional Local Opera costs of their performances . The following list (which also includes certain fully professional performances productions among those given at St Pancras) indicates the number of performances an d where they were given:
BACH . Coffee Cantata : Lake District Festival-Kendal, 4 BIZET. Doctor Miracle : Bath Opera Group, 3 Opera da Camera: Corby, Harpole, Loughborough, Stamford, Uppingham, 5 BOUGHTON, RUTLAND . Alkestis: Rutland Boughton Trust-Glastonbury, 2 DEBUSSY. Pelleas et M61isande: Opera-Concerts .Limited-London (St Pancras), 2 DONIZETTI . The Elixir of Love : Maidstone Opera Group, 4 The Night Bell: Kentish Opera Group-Orpington, 3 GUNDRY, INGLIS . The Prince of Coxcombs : Morley College Opera Group-London (Lambeth), 4 HANDEL . Admetus : Unicorn Theatre Club-Abingdon, 6 HOLST. At the Boar's Head : Gustav Holst Memorial Plaque Committee--Barnes, 2 Savitri, 2 LORTZING . Csar and Carpenter : Bristol Opera School, 5 The Opera Rehearsal : Morley College Opera Group-London (Lambeth), 3 MONTEVERDI. The Return of Ulysses: Basilica Productions Limited-London (St . Pancras), 2 MOZART. The Marriage of Figaro : Hintlesham Festival Club, 3 NICOLAI . The Merry Wives of Windsor : Oxford University Opera Club, 4 PUCCINI . Suor Angelica: Kentish Opera Group-Orpington, 3 Gianni Schicchi, 3 . PURCELL . Dido and Aeneas : Bath Opera Group, 3 Morley College Opera Group-London (Lambeth), 3 REspicm . Laud to the Nativity: Handel Opera Society's Chorus Committee-London (St . Pancras), 1 ROSSINI . The Thieving Magpie: Midland Music Makers' Grand Opera Society-Birmingham, 4 The Turk in Italy : Handel Opera Society's Chorus Committee-London (St Pancras), 2 TATE, PHYLLIS. The Lodger: Group Eight Productions Limited-London (St Pancras), 2 VERDI. Ernani : Philopera Circle-London (St Pancras), 2 WAGNER . Lohengrin: Liverpool Grand Opera Group, 4 Dos Liebesverbot : University College London Music Society, 4 WEBER . Abu Hassan: Opera da Camera-Corby, Harpole, Loughborough, Stamford, Uppingham, 5 WILLIAMS, R . VAUGHAN. Hugh the Drover : West Riding Opera Circle-Leeds, 4
The Council also gave assistance for two church performances of medieval music drama s by the Sacred Music and Drama Society staged at Battle and Richmond, Surrey . Performances given by local groups in the north-east of England receive the Council' s support through the North-Eastern Association for the Arts .
73 Ballet Rambert The Ballet Rambert Company toured for a period of thirty-two weeks including the annual two-week appearance in London at Sadler's Wells, and visits to both Jersey an d Northern Ireland . New productions included Cul-de-Sae, Norman Morrice's seventh ballet for the Com - pany, and Sweet Dancer, a ballet for which Walter Gore devised the choreography and in which Paula Hinton appeared as a guest artist. Western Theatre The work of the Western Theatre Ballet continued to develop during the year . The Ballet remarkably popular one-act ballets Mods and Rockers and Non Stop were both filmed and shown with great success on the commercial circuits . `Ballet in the Round'-a new venture in this country-was first presented at the Victoria Theatre, Stoke-on-Trent, and sub - sequently seen on the arena stage at the Questors Theatre, Ealing. Festival appearances included Bath where three gala performances of Lysistrata wer e given in which the Company appeared, with Margot Fonteyn and Rudolph Nureyev as guest artists in the same programme . Nadia Nerina also appeared with the Company at th e opening performances in Sunderland of the North-East Festival of the Arts . She danced the principal role in Home, a new ballet by the Company's Artistic Director Peter Darrell , with designs and costumes by Peter Cazalet, a member of the Company, which was adde d to the repertoire . Provincial touring included ten weeks in the West Country as well as a number of firs t visits to various Civic Repertory Theatres throughout Great Britain . One week was spen t in Northern Ireland and, in association with the British Council, the Company spent a fortnight in Denmark. Of special interest was an engagement by B .B.C. T.V. to present the second original T.V . Ballet on Channel 2 . A Man Like Orpheus was danced to a specially commissione d score by Raymond Leppard, a scenario by John Hopkins and choreography by Pete r Darrell. Other Ballet Assistance was given to two other smaller ballet groups for performances in Englan d Activities (out-of-London),the Harlequin Ballet Trust Ltd ., for eighty-eight performances, and Bal- min Productions Ltd. (Ballets Minerva), for thirty-nine .
74 Drama 1 Appendix B
DRAMA PANEL Report on the needs for Drama in Englan d outside Londo n
In 1964 the Drama Panel was asked by the Arts Council to consider and report on th e needs for Drama in England following the end of the triennial grant period on March 31st , 1966 . (The needs of theatres in Scotland and Wales are under the review of the Council' s Committees in those countries .) The question was referred to the Panel's Policy Committe e which resolved to deal first with theatre companies operating outside London . The sectio n dealing with the London situation will be added later this year . The Policy Committe e consisted of the following Panel members: Mr Hugh Willatt (Chairman), Miss H. Nancy Burman, Mr Robin Fo g , Professor Hugh Hunt, Mr Hugh Jenkins, M.P ., and Major-General Sir John Kennedy . Written reports were received from seventeen theatres at present receiving grants, an d representatives of nine of them were invited for interview. Statistical and other informa- tion was supplied by the Drama and Finance Departments during the course of the in- quiry, and is attached to the Report in the form of appendices . The Committee decided that it must first try to assess the actual requirements of the supported companies, irrespective of what they at present receive or of what might b e likely to be available; and to advise the Arts Council as to the real need in this sphere if the theatre of this country is to be preserved and encouraged . Secondly, that it must bear i n mind the needs of towns and areas at present ill-supplied with theatre, and the possibilit y of the coming into being of new enterprises whichwould also need subvention and guidance . Thirdly, that it must try to see the theatrical picture of the country as a whole and th e position of the supported companies in relation to it . The Committee had from the outset little doubt that the strength of the supported com-
75 panies was much greater than it had been, say, five years ago in relation to the rest of the theatre, both in London and the provinces ; particularly was this so in the number of such companies, the quality of their work, and the quality of the buildings they occupied . How really solid is this strength, and what needs to be done to increase it, the Committee have tried to assess. The completed Report Part I was presented first to the Drama Panel for approval, an d then to the Arts Council, which accepted it in full and resolved that copies should be sen t to the newly established Department of Education and Science, and to the Treasury . What follows, edited in slight degree by Mr Hugh Willatt for inclusion here, is the Summary of Recommendations . Summary of Recommendations The facts considered by the Committee show for the supported companies a situation o f some strength . There are more companies in better buildings, with higher standards bot h in performance and play choice than there were five years ago . Although the enterprises are mostly small in scale their wide distribution, in spite of gaps, means that the live drama i s slowly becoming accessible to more and more of the population . They are all locally sponsored, and their close links with their communities give them the opportunity t o develop, as theatres, in individual ways, and to become the centres of a wide range o f activities . In effect there has come into being a new form of theatrical provision for the provinces, different not only in quantity but in kind, from the struggling `weekly reps .' o f a generation ago . Two facts, however, give cause for concern . Firstly, all this has taken place against a background of serious decline in the older form of provision, the touring system. It is true that repertory theatres now far outnumber touring theatres ; nevertheless the provincial public needs both, to house different types of performance. The Arts Council has a special interest in the matter in that its supported companies of opera, ballet, and touring dram a need the large theatres of the circuits in which to play . Secondly, so far as the repertory theatres are concerned, there is strong reason to believe that the positions gained will only with great difficulty be held unless substantial help i s forthcoming in what is, in the Committee's opinion, a crucial stage in their history. Thi s help is needed in the provision and improvement of buildings, in the strengthening of local relationships and, above all, in the maintenance and improvement of standards by the strengthening of the supported companies and their direction . This help must come pri- marily in the form of money, although other forms of encouragement are important . Help can come from three sources: (a) Local Authorities; (b) business and private bene- factors; (c) the Arts Council . Local Authoritie s The Committee believes that the principal sphere of Local Authority help should be in the provision and improvement of buildings and the strengthening generally of loca l relationships, particularly in the sphere of education . There appears to be an increasin g and most welcome willingness on the part of Local Authorities to accept responsibility for the acquisition of theatres or the building of new ones . The major companies are, or will shortly be, well housed; but even here money is badly needed to improve the buildings a t Bristol, Liverpool and Sheffield to adapt them to current requirements . In the case of many of the remainder, new buildings or major reconstructions are needed and in some cases are planned . The result, in standards and size of audiences, for the new theatres a t
76 Nottingham and Coventry has been obvious and immediate. Nottingham audience s trebled when the new theatre opened, and continue to average nearly 80 per cent of capacity : the Belgrade in Coventry is playing to nearly five times more people each wee k than the previous Midland Theatre Company in the Technical College . However, the present method of financing some of these operations gives serious caus e for concern . It can hardly be satisfactory for companies to be repaying to local rate fund s the total cost of building their theatres out of subsidies provided by the Exchequer, an d disbursed by the Arts Council for the improvement of their work . This is transferring money from one public pocket to another. The system adopted causes confusion in the public mind and adds fuel to local squabbles, at a time when ratepayers and their repre- sentatives are tentatively showing a willingness to help. A Local Authority will claim credit for providing a theatre, and it will not be generally realized that the total cost plus interest will be paid back by the theatre over a period . If a subsidy is given with the Authority's other hand, to help meet a part of this obligation, the giving of it will b e stressed by the local opponents as a sign of loss and failure . The system clearly require s full consideration at both national and local levels . The Committee suggests (i) that a fund be provided nationally, from which contribu- tions could be made to Local Authorities contemplating the building or improvement o f theatres to serve as an encouragement to action, and to help in the avoidance of loca l controversy (see note ` a' ) ; (ii) so far as the Local Authorities' contribution for building or improvement is concerned, if it is necessary to avoid any suggestion of concealed subsid y i n municipal book-keeping, the annual subsidy should automatically be fixed as the equiva - lent of the repayment figure to the local rate fund in each year until the debt has been repaid ; (iii) that the making of a contribution from the suggested fund should be condi- tional on the terms of the tenancy agreement between the Authority and the company being satisfactory, including the assumption by the Local Authority of proper responsi- bility for maintenance of the building . Over and above the building question, which the Committee considers to be a firs t priority, there remains the whole matter of expenditure by Local Authorities on Enter- tainment and the Arts, which was very fully discussed in the 196364 Arts Council Report . The Committee can only reiterate that few Authorities have yet availed themselves to an y effective extent of the powers given to them by the Act of 1948 to help the Drama, and a change of policy here would have a most telling effect on the theatres in their areas . It ma y be that in some towns in which the Local Authority has provided, or is about to provide, a theatre, difficulty may arise if they are also asked to subsidise the work of the company . Provision of the building, on proper terms, should come first . Once it has become established and an object of local pride, the climate for revenue subsidies tends to become much mor e favourable . There are, however, many Authorities which do not have, or are not likely t o have, theatres in their areas, but whose populations benefit from supported theatres in neighbouring areas : County Council, Councils of smaller Boroughs, Rural District Councils. These can certainly be looked to for grants and a number in fact already make them but mostly on a very small scale . Every effort should be made to encourage them to increas e this help. It should be noted however that the 1948 Act does not apply to County Councils but help can be received from them under the Education Acts.
The Committee also welcomes the interest of a number of City and Borough Councils i n the acquisition of existing theatres but considers that there is an urgent need for though t
77 as to the uses to which they should he put . Mixed programmes raise problems requiring a fuller consideration than has been possible here. Such consideration might include a recognition that the standard formula of a permanent repertory company may not be the inevitable solution for certain towns, that some diversity in their programmes may he needed, and that these theatres may be a further step in the breaking down of the divi- sions between commercial and non-commercial and between repertory and tourin g managements . Provided that a satisfactory system can be devised there may well b e justification for a change in the present policy and for subsidy to be given by the Art s Council to the theatre management itself and not only to visiting companies . The know - ledge that some grant towards operating costs would be received could be a decisive fatte r in persuading a Local Authority to acquire its theatre . (See note `b' .)
Business and Private Benefactors With regard to business and other private benefactors, their provisions have, up to now, been small and spasmodic . The Committee appreciates the difficulty in persuadin g industries and businesses to recognize any obligation here, particularly when the theatres concerned receive substantial public money . They welcome the setting up by the Institut e of Directors of an Arts Advisory Council. There is evidence nevertheless, that the existenc e of a theatre of quality in a provincial town is a factor in attracting people engage d in industry to move and live there. Tax allowances for contributions to properly consti- tuted theatres which are recognized as charities would of course be an encouragement t o industry and commerce to make such grants . The regular supply of information to this Arts Advisory Council should stress the im- portance of the theatre outside London and point out the advantages to a commercia l concern and to its staff and their families of a theatre in its locality .
The Arts Council Responsibility for the artistic strength of what is done in the repertory theatres has been and should continue to be mainly the responsibility of the Arts Council . This is not only a matter of giving money but of encouragement and guidance in the full sense of the Art s Council's Charter. The help in this sense given over the years, particularly by the Art s Council officers, has been a major factor in the attainment of the present position . It has been of great value in placing local theatres in touch with metropolitan sources and stan - dards and has strengthened the hands of theatre directors working in isolation, responsible to a lay Board . It is difficult for the present small staff in the Drama Department to main - tain enough contact with all the theatres and to fulfil adequately their function as asses- sors. In the Committee's view the staff should be increased. (See note `c' . ) Nevertheless, the basic need is for money for the companies themselves . The Committe e are perfectly satisfied that there is little or no possibility of waste or extravagance in th e budgets of any of the enterprises they studied . As Appendix B Drama 2 of the Arts Council Report for 196364 shows, the subsidy element for these theatres from all source s averaged out over all the companies is now 24 per cent of income by trading . This addition to box-office takings has, over the years, made all the difference not only between survival and extinction but between adventurousness and playing for safety, between quality and mediocrity . The Committee consider that the time has come for a substantial increase in Arts Council subsidy . This would in turn result in an increase, i f not an exactly corresponding one, in audience and takings . The achievements of the last
78 ten years, as revealed in the Committee's Report, suggest an opportunity which can only be taken if additional strength is given in the measure now recommended. The situation will not be met by small annual additions to the present subsidy figures . The sums required should, in the Committee's view, be in the following ranges : For the major theatres, subsidies should be increased from up to £17,000 as at present t o around £50,000 per annum. This would enable salaries of the order of £60 per week to b e paid to d irectors and principal members of the company and allow for occasional specia l engagements which may have to be at a higher figure. This meets the unanimous view of the Drama Panel that the top figure of £50 per week suggested by certain directors is no t enough, taking into account the financial and domestic disadvantages for an actor workin g in the provinces, and that these theatres should be in a position to offer more to an acto r than he would receive in London . Actors commonly have flats or homes in London whic h they cannot give up for comparatively short provincial engagements-this means tha t they have to find double rent, be separated from their families and are cut off from th e possibility of increasing their earnings by casual radio or TV engagements . This is tru e wherever they are working. Equally important, the subsidies recommended would allow the whole salary structure of these companies to become more realistic to ensure tha t actors in the intermediate and lower ranges, as well as managers, designers, technical an d administrative staff could be engaged at adequate salaries to ensure the employment of people of the right quality . It would also allow certain new appointments to be made, for example public relations officers to build up and win new audiences. Such grants would als o enable these theatres to be more bold in their policy and choice of programme and to rais e the standard of presentation . These sums would result in a total subsidy to this class o f theatre of £350,000 per annum and, in the Committee's view, it should be made for the year beginning April 1965, as all the major theatres are in a position immediately to mak e effective use of it . Of the remaining repertory theatres, some fourteen urgently need and could immediatel y (i .e. from April 1965) effectively use subsidies of £20,000 each compared with their present figures of around £6,000. This would enable salaries to the directors and leading actors o f possibly £40 per week to be paid and commensurate increase in the intermediate and lowe r ranges, as well as for managers, designers and other staff . The result would be an immediate improvement in theri programmes of plays and their presentation . For this group a total sum of about £280,000 would meet the situation for a year, but after that, this figure should be increased to £400,000 to be spent on grants of up to £30,000 to such of these theatres a s have justified it, by their development, real and potential, and the quality of their work . These factors should determine the size and pace of the increases. For the thirteen smaller theatres whose grants at present range from £750 to £4,000 the Committee considers that these sums should be increased up to £10,000 in the cases where further growth seems possible . The total requirement for this group is £130,000 . Thei r claim to such increases must be dependent upon proof of their ability to move into a higher category, and failure to show that they can do so will raise doubts as to the ri qualification for continued support . With regard to touring companies, an increased sum should be earmarked for thei r support, but the precise amount cannot be assessed until further investigation of the ri position and their relationship with certain Local Authority theatres has taken place . I t should be of the order of £100,000, to cover touring by the National Theatre, Royal
79 Shakespeare Theatre, English Stage Company, as well as the specifically touring com- panies . A sum of £53,000 will he required to meet the needs of the training schemes and Ne w Drama referred to in Section 5 of the Report (New Designers £17,000; Producers, Managers, Technicians £8,000; New and Neglected Drama £28,000). For the extension of the Trans- port Subsidy scheme, £15,000 would be required . In the opinion of the Committee, these schemes have been of quite exceptional value, not only in the provinces, but to the theatre of this country as a whole . The Sub-Committees of the Drama Panel responsible for thes e activities consider that an increase to the figure mentioned above would allow for the necessary development in this work. Finally, it is the Committee's view that a sum should be provided to cover likely need s for new companies which may come into being in areas where there are at present n o theatres and to cover possible extensions in the number of activities of the supporte d touring companies . This should be in the region of £40,000 per year. In all these calculations, except for the fourteen theatres in the second category, wher e a further substantial increase would be required in 1966/67, the Committee consider tha t national percentage increases of up to 10 per cent would be required to keep pace wit h rising costs . Subsidies at the rates suggested would mainly be spent on salaries though they woul d immediately add something to the present meagre allowances for scenery and costumes . Nevertheless the resultant salary ranges would still not be excessive in relation to what i s paid in other professions or in other branches of the theatrical and entertainment industr y with which the provincial theatres are in competition for artists. Subsidies in the rang e contemplated would : (1) Enable larger companies to be engaged making possible a choice of plays from a wide r repertoire ; (2) Enable actors of talent and experience to join these companies and to commit them - selves to long-term contracts. Repertory theatres will always be invaluable training ground s but provincial towns should have companies which are not entirely composed of youn g and raw actors; (3) Help to ensure that the key figures, the directors, managers and designers, are of the right calibre. There is a strong case for payment of greatly increased salaries for thes e positions in certain of the theatres other than the major ones, to attract the right man i n towns where there is a possibility of development ; (4) Enable companies so to arrange their work by increased rehearsal periods and by th e adoption in appropriate cases of the true repertory system, that a higher standard can b e achieved . The Committee are strongly in favour of the extension of the true repertory system wherever it proves practical . It is the opinion of the Committee that if the companies are assisted in this way to operat e more effectively the audience's response will be immediate and box-office takings will b e increased . This has been taken into account in assessing the amount of subsidy needed . How far these takings can be further increased by a rise in seat prices is a difficult ques - tion. Can these increases be at a higher rate than the fairly steady rise which has in fac t taken place over the past ten years or so? New theatres with greater amenities often make it possible to raise prices fairly steeply . Leaving this factor aside the Committee cannot recommend any immediate and substantial rise . The whole conception of these theatres i s
80
that they should be places which all sections of the community can visit. Provincial peopl e are not accustomed to paying the metropolitan prices which they themselves will readil y accept for occasional visits to London . There is also reluctance on the part of the tourin g theatres to increase their own prices beyond a certain level and repertory theatres, i n spite of their smaller size and seating capacity, have largely to keep in step. However , there should be regular reviews of seat prices by the supported theatres .
Summary of financial recommendations 1965/66 1966/6 7 x-10 per cen t except ' £ £ Seven major theatres 350,000 385,00 0 Fourteen theatres in the second category 280,000 400,000 ' The thirteen smaller theatres 130,000 143,00 0 Touring 100,000 110,00 0 Training and New Drama 53,000 58,30 0 Transport Subsidy 15,000 16,50 0 Provision for new companies 40,000 44,00 0
953,000 1,156,80 0
The sums proposed are substantial, but only in relation to the size of the present grants. These grants have been enough, but only just enough, to allow more than thirty or s o theatres to establish themselves and strike their roots, some over a long period, the great majority since the last war . This has been achieved with very small resources and at th e cost of self sacrifice on the part of many artists . The Committee believes that assistanc e on the scale suggested would now give the provincial theatre the strength and stabilit y which it needs t o'make its important contribution to the life of our towns and cities and th e enrichment of our theatrical tradition, in a way which is appropriate to the times in which we live . Hugh Willat t Chairman of the Drama Panel 196 4
Note (a) . A Capital Grants Fund of £250,000 has been placed at the disposal of the Arts Council by the Treasury in the financial year 1965/66 . !Vote (b) . The Arts Council has now accepted certain theatres in this new category as qualifying for grant-aid, and payments are being made to them in 1965/66 . Note (c) . This recommendation has now been accepted and acted upon .
81
Appendix B Drama 2 Grants and Guarantees for the year ended March 31st, 1965
Nero Rerenue Drana & Touring Grant or Capital Neglected Transport Training Grants or Guarantee Expenditure Plays Subsidies Sehemes Guarantees Totol A . ENGLAND £ £ £ £ £ £ £ Barrow in Furness: Renaissance Theatr e Trust Company Limited 3,500 300• 3,80 0 Birmingham Repertory Theatre Limited 17,000 300 250' 17,55 0 Birmingham: Crescent Theatre (New Building) Trust Limited 500 50 0 Bristol Old Vic Trust Limited 17,000 500• 64* 17,56 4 Bromley Theatre Trust Limited 2,500 750 225 170' 200 3,845 Cambridge : The Arts Theatre of Cambridge Limited 800• 80 0 Canterbury Theatre Trust Limited 5,000• 200' 5,200 Century Theatre Limited 4,000 4,000 Cheltenham Everyman Theatre Company Limited 5,000 1,000• 275 500• 6,775 Chesterfield Civic Theatre Limited 3,500 150• 3,65 0 Colchester Repertory Company Limited 5,500 400* 5,90 0 Coventry : Belgrade Theatre Trust (Coventry) Limited 17,000 250* 800* 384 18,43 4 Crewe Theatre Trust Limited 980 98 0 Croydon: New Pembroke Theatre (Croydon) Limited 2,000 2,00 0 Derby Playhouse Limited 4,500 350' 4,85 0 Farnham Repertory Company Limited 2,000 1,000* 659* 50• 240 3,94 9 Guildford: Yvonne Arnaud Theatre Trust 5,000 5,00 0 Harrogate (White Rose) Theatre Trust Limited 2,000 250* 300* 2,55 0 Hornchurch Theatre Trust Limited 5,250 250* 5,50 0 Ipswich Arts Theatre Trust 5,750 300 250* 6,30 0 Leatherhead Repertory Company Limited 5,250 350* 100* 240 5,94 0 Leicester Theatre Trust Limited 5,000 275 250* 448 5,97 3 Lincoln Theatre Association Limited 8,500 1,503* 350* 136 10,48 9 Liverpool Everyman Theatre Company Limited 50* 5 0 Liverpool Repertory Theatre Limited 7,000 300* 7,30 0 London: Caryl Jenner Productions Limited 134 134 English Stage Company Limited 32,500* 280 32,780 Hampstead Theatre Club Limited 700* 700 Mermaid Theatre Trust Limited 8,000 1,000* 325 136 9,46 1 National Theatre Board 142,000* 142,000 New Shakespeare Company Limited 1,000 1,000 2,000 Newstage Limited, Stratford 750 200* 950 Old Vic Trust Limited 21,000* 21,000 Repertory Players 54 54 Sadler's Wells Trust Limited 136 136
Carriedforward 338,4801 6,353 3,697 j i 16,320 2,264 1,000 358,114
82
Ne w Revenue Drama & Touring Grantor Capital Neglected Transport Training Grants o r 'Guarantee Expenditure Plays Subsidies Schemes Guarantees Tota l £ £ £ £ £ £ £ Broughtforward 338,480 6,353 3,697 6,320 2,264 1,000 358,114 Loughborough and District Theatre Association Limited 1,500 1,500 Margate Stage Company Limited 334 334 Newcastle : Flora Robson Playhouse 5,000 400• 5,400 Northampton Repertory Players Limited 5,750 800• 6,55 0 Nottingham Theatre Trust Limited 17,000 510• 800• 136 18,446 Oldham Repertory Theatre Club 2,000 4,000• 6,000 Oxford: Meadow Players Limited 13,500 350• 13,85 0 Oxford Theatre Group 12 1 2 Oxford University Theatre 400• 40 0 Plymouth Arts Guild 2,900• 200• 3,10 0 Prospect Productions Limited 3,500 300 3,80 0 Richmond Theatre Productions Limited 1,750' 250• 200• 2,20 0 Rosehill Arts Trust Limited 250• 25 0 St Edmundsbury Theatre Royal Trust Limited 500 50 0 Salisbury Arts Theatre Limited 6,000 850• 352 7,20 2 Scarborough Theatre Trust Limited 750 440' 251 1,44 1 Scunthorpe : Civic Theatre 1,000• 250• 1,250 Sheffield Repertory Company Limited 10,000 104 200' 216 10,520 Southampton : Cockpit Theatre Trust Limited 250 250 Stratford upon Avon: Royal Shakespeare Theatre 80,000 136 8,000• 88,13 6 Studio Theatre Limited 5,500 475• 400• 6,37 5 Windsor Repertory Company: Capoco Limited 120 12 0 York Citizens ' Theatre Trust Limited 4,000' 700• 24' 4,72 4 The British Centre of the International Theatre Institute 250 25 0 Council of Repertory Theatres 350 35 0 National Council for Civic Theatres 200 20 0 Training Scheme Bursaries 1,693 1,693 New Drama Bursaries and Expenses 2,125 2,12 5
£498,680 £12,293 0,408 £11,520 £4,941 £9,250 £545,09 2
B. SCOTLAND British Centre of the International Theatr e Institute 25 2 5 Dundee Repertory Theatre Limited 12,000 150 1,000 53 13,203 Edinburgh Gateway Company Limited 5,000 1,600 71 6,67 1 Edinburgh Traverse Theatre Club 343 750 1,093 Glasgow Citizens' Theatre Limited 15,000 1,125 2,100 327 336 18,888 Perth Repertory Theatre Limited 9,000 950 2,000 164 12,11 4 Pitlochry Festival Society Limited 5,000 1,125 600 6,725 Prospect Productions Limited 187 187 St Andrews Play Club : Byre Theatre 400 60 460 £46,955 £3,350 28,110 £615 £336 259,366 s Maximum commitments are given, not necessarily the amounts paid
83 Appendix C Arts Council Exhibitions held in Great Britain during the period April 1964 - March 1965
England Paintings, Drawings, Sculpture, etc . British Painting Before 1940 : The Arts Council Collection British Painting, 1940-1949 : The Arts Council Collectio n British Painting, 1950-1957 : The Arts Council Collectio n New Painting, 1958-1961 : The Arts Council Collection New Painting, 1961-1964 : The Arts Council Collectio n Loans from the Arts Council Collection Paintings and Recent Purchases from the Arts Council Collection W Twentieth Century Drawings: The Arts Council Collection Sculpture : The Arts Council Collection S Art Nouveau in Britain, 1880-190 5 Vanessa Bell, 1879-196 1 S Boccioni: Drawings and Prints and Graphic Works from the Collection of Mr and Mr s Harry Lewis Winston Brazilian Art Today British Artists of the Second World War Ford Madox Brown, 1821-189 3 Painters of the Briick e The Arts of the CH'ING DYNASTY: In collaboration with the Oriental Ceramic Societ y S Delacroix Joan Eardley, 1922-1963 Georg Ehrlic h Jane Drew-Maxwell Fry Collection W Maxwell Fry Architecture W The Gregory Fellow s Drawings by Arshile Gorky, 1904-194 8 The Peggy Guggenheim Collectio n Hittite Art and the Antiquities of Anatoli a S Indian Painting Now W London Group Jubile e Robert Medley Adolf Menzel, 1815-190 5 Joan Mir o Henry Moore: Arts Council Collection The Orange and the Rose : Great Britain, Holland and the Age of Observation
84 W Painting Towards Environment Peruvian Gold : Pre-Columbian Art Contemporary British Sculptur e Shakespeare in Ar t Sickert, 1860-1942 S Six Young Painters, 1964 The Arts of Thailan d Towards Art, II : Sculpture from the Royal College of Art Since 195 2 Young Contemporaries, 1964
Graphic Art and Stage Design The Graphic Work of Edvard Munch WS New Prints Original Prints from the Arts Council Collection Pictorial Embroider y Designs for the Theatre : Arts Council Collection Three Stage Designer s
Reproductions and Photographs W Abstract Art George Braque W Edgar Dega s W Ecole de Paris W English Ar t W Modern German Painting, 1900-196 0 W Modern Gouaches and Watercolours Hans Holbein the Younger W The Human Figure in European Painting Wassily Kandinsky W Landscape in Art, Part 1 : Up to Impressionism Landscape in Art, Part 2 : After Impressionism Lettering on Building s Joan Mir o Outline of Modern Art W Pablo Picasso, Part 1 : 1900-192 5 W Pablo Picasso, Part 2: 1925-196 0 W Portrait Painting W Rembrandt and his Contemporarie s W Still Life W Thirty Painters of the 15th Centur y W Vincent van Gogh
April 1st, 1964, to March 31st, 1965 Seventy exhibitions were held in 197 separate buildings in 161 different centres (36 9 showings, including 16 held in the Arts Council, Commonwealth Institute, I .C.A ., Royal Academy, Tate, and Victoria and Albert Museum galleries) . Included in the above are 35 showings held in Wales in 16 separate buildings in 13 differen t centres, and 17 showings held in 7 separate buildings in 6 different centres in Scotland .
Note : W Also exhibited in Wale s S Also exhibited in Scotland
Scotland Modern Scottish Paintings from the Collection of Dr R . A . Lillie Young Scottish Contemporarie s Joan Eardley Memorial Exhibition Shakespeare in Scottish Art
85 Pictorial Embroidery Drawings from the Collection of the R.I .B .A. Plus/Minus Thirty Contemporary Scottish Paintings from the Collection of the Scottish Committe e Old Master Drawings from a Private Collectio n Four Scottish Artist s James Scene Centenar y Art and Movemen t
Eighteen exhibitions (including 6 from England) were held in 29 different buildings in 20 centres (54 showings in all).
Wales St David's Exhibition of Contemporary Welsh Painting and Sculptur e Art in Wales : A Survey of 4000 years to A.D . 1850 John Piper in Wales Eric Malthouse and John Warren Davies ' Looking at Design Welsh Industrial Scene Pictures from the Margaret Davies Collectio n British Sculpturet Cubism and Abstract Art
Thirty-one exhibitions (including 22 from England) were held in 33 buildings at 2 6 centres (73 showings in all) .
' One showing in England .
t Two showings in England .
86 Poetry Appendix D
The National Manuscript Collection of Contemporary Poets was set up jointly by the The National Arts Council of Great Britain and the British Museum in 1963 with the help of a grant of Manuscript £2,000 from the Pilgrim Trust . Accessions, whether by purchase or gift, are handled by a Collection of special committee of the Arts Council with C . Day Lewis in the chair. When a manuscrip t Contemporary bought for the Collection is transferred to the British Museum, the Trustees of the British Poets Museum reimburse the Purchasing Fund with the amount originally paid for it . The following accessions were made during the year 1964/65, bringing the number o f poets now represented in this Collection up to forty-two .
Kathleen Rains Three notebooks containing drafts of poems written between 1960 and 1964, includin g `Soliloquies upon Love' .
Elizabeth Jennings Three school notebooks with MS. notes, poems, etc . c . 1941/43 . Ninety-three MS . sheets mainly of poems published in volumes such as Song for a Birth or a Death (1961) an d including fifty-four sheets of translations of Michelangelo's Sonnets . Thirteen sheets of twelve MS . poems written during 1964.
Dom Morass A notebook containing working drafts of various poems including 'Crooked Mile', `Mor e Bells for William Wordsworth', and 'The Lake'. c . 1963 .
John Drinkwater Holograph poem (one leaf) 'The Plea', dated Brampton 17 .vi.32 .
Dylan Thomas Prologue to the Collected Poems . Three leaves, holograph manuscript . The Prologue is written out fair on two leaves, with corrections to eight of the lines . The third leaf is a worksheet and both recto and verso are covered with working notes.
87 Edmund Blunden A notebook with MS . drafts of twenty-one poems dating from 1918/21 . MS . worksheet s and drafts of forty-four poems covering a wide period of time (the last one dated 1965).
Laurence Binyon Translation of Dante's Paradiso: (a) two notebooks containing MS. drafts heavily cor- rected; (b) two folders containing MS . sheets, and typescript sheets heavily corrected , together with certain passages in the manuscript of Cicely Binyon .
Edgell Rickword (a) A folder containing MS. first and early drafts, and a copy of the first edition of Invoca- tions to Angels (Wishard & Co., 1938) . (b) A folder containing MS . and TS . first and progressive drafts of Twittingpan, togethe r with a printer's copy (corrected TS.) . (c) Page proof copy of Collected Poems with numerous MS . corrections. (d) A folder containing the MSS . of numerous discarded poems . (e) A notebook containing notes for Rickword's study of Rimbaud (published 1924), and the drafts of an uncompleted poem attempting to make a modern version of the Faustus myth.
Andrew Young Notebook (52 pp .) containing MS . drafts for Into Hades (1952).
Drummond Alliso n MS . drafts of seven poems and TS . copies of three poems .
George MacBet h TS. of The Wasp-Woman (after Ponge) with MS . corrections.
The Committee of the Arts Council that advises on these accessions consists of C . Da y Lewis, C .B .E . (Chairman), Philip Larkin, Miss A. J . Lewis, Edward Lucie-Smith, T ;C . Skeat, and Eric W. White (Secretary) .
88
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:\\'- .c .rte .•;.?~.+~a\ i,~!/~1 r~~i~_~/~i~( ~ `~ \\ ~ `~~ - -_~ ~, 1.,~ ' 4+~ Athi Accountant's Notes
These notes are given in amplification of the Annual Accounts which follow. 1. The additions to Office Equipment on the Balance Sheet include £2,513 for a book-keeping machine which has enabled the Financ e Department to mechanise the whole of the Council's accounting system . 2. The income and expenditure on the production of the Francis Baco n Film has been shown in the Council's accounts as follows :
Expenditure: 1962/63 Schedule 3 £389 1964/65 Schedule 1 £466
£855 Less Income : 1963/64 Schedule 3 £281
Arts Council net contribution £574
Income from the distribution of this film is to be applied to the repay- ment of the initial capital investment by the National Film Finance Corporation (£2,000), Marlborough Fine Art Limited (£1,522) and th e Arts Council (£574) in that order of priority . The income received up to 31st March, 1965, from the distribution of the film and the surplus on the sale of prints total £970, which has been paid to the National Film Finance Corporation to cover interest and reduction of principal according to th e agreement . 3. The Special Funds, in Schedule 5, include the National Manuscrip t
90 Collection of Contemporary Poets which is operated on an initial grant o f £2,000, plus interest received. Under present arrangements a manu- script is first purchased by the Arts Council, then transferred to th e Trustees of the British Museum who reimburse the fund with the original purchase price. 4. The income received by the Compton Poetry Fund shown in Schedules 5 and 6 was received from the estate of the late Mr Josep h Compton, C.B.E. Mr Compton was the first Chairman of the Poetr y Panel, an office which he held for twelve years . He generously left the residue of his Estate, subject to the interest of a life tenant, to establish this trust fund. It is anticipated that it will be some time before th e Estate is settled.
91
The Arts Council of Great Britain
196364 £ £2,270,021 General Expenditure on the Arts in England (see Schedule 1) 2,689,70 0 134,231 General Operating Costs in England (see Schedule 2) 141,76 6 22,123 Capital Expenditure Transferred to Capital Account 14,31 0 174,600 Grant to Scottish Committee 202,78 9 140,432 Grant to Welsh Committee 155,57 5 10,269 Balance carried down 15,373
£2,751,676 £3,219,51 3
50,422 Balance carried forward to Balance Sheet 65,79 5
£50,422 £65,795
92
Revenue and Expenditure Account for the year ended 31 st March, 19 6 5
1963/64 £ £ £2,730,000 Grant in Aid: H.M . Treasury 3,205,00 0 Cancellation of Grants, Guarantees and provision fo r 8,157 expenses in previous year not required 6,142 8,995 Amount Transferred from Reserve for Special Art Projects - Sundry Receipts: Interest: Bank and Investment 6,04 4 Proceeds of Sale of Assets 6 7 Miscellaneous 2,26 0 4,524 8,371
£2,751,676 £3,219,51 3
40,153 Balance brought forward at 1st April, 1964 50,42 2 10,269 Balance brought down 15,37 3
£50,422 £65,79 5
93
The Arts Council of Great Britain
Liabilities
1964 £ £ £ Capital Accoun t
Balance as at 31st March, 196 4 137,31 1 Add Capital Expenditure during year transferred from Revenue and Expenditure Accoun t 14,31 0
151,62 1
Less Book Value of Assets written off: Office Equipmen t 61 2 Exhibition Equipment 62 0 - 1,232 £137,31 1 150,38 9
110,023 Grants and Guarantees Outstanding 93,70 9 Credit Balances
42,090 Sundry Creditors and Accrued Liabilities 64,24 1
17,960 Special Funds (see Schedule 5 ) 18,29 5
Reserve for Special Art Projects 19,497 Balance as at 31st March, 196 4 19,49 7
Revenue and Expenditure Account 50,422 Balance as at 31st March, 1965 65,79 5
£377,303 Carried forward £411,926
94
Balance Sheet as at 31 st March, 19 6 5
Assets
1964 £ £ £ Office Equipmen t At valuation as at 31st March, 1956, and additions a t cost less items sold or written off to 31st March , 1964 18,74 7 Additions at cost during year 4,095
22,84 2 Less items sold or written off during year 61 2 £18,747 22,230 Motor Vans and Cars At cost as at 31st March, 1964 13,52 0 Additions at cost during year 9 9 13,520 13,61 9 Cello Account 100 At valuation as at 31st March, 1960 10 0
Theatre and Concert Hall Equipment At valuation as at 31st March, 1956, and additions a t cost less items sold or written off to 31st March, 1964 10,994 Additions at cost during year 24 10,994 11,01 8 Art Exhibition Equipment At valuation as at 31st March, 1956, and additions a t cost less items sold or written off to 31st March, 1964 13,77 6 Additions at cost during year 16 7
13,943 Less items sold or written off during year 620 13,776 13,323 Works of Art At cost as at 31st March, 1964 73,32 6 Additions at cost during year 9,92 5 73,326 83,25 1 Reproductions At valuation as at 31st March, 1957, and additions a t 6,848 cost less items written off to 31st March, 1964 6,848
371 Wigmore Hall Canteen Stock 206 Loans to Associated and Other Organizations Secured by Mortgage Balance as at 31st March, 1964 2,75 0 Less repaid during year 12 5 - 2,625 Secured by Investment 3,330
£137,682 Carried forward £5,955 £150,59 5
9 5
The Arts Council of Great Britai n
Liabilities
1964 £
£377,303 Brought forward 411,92 6
Note : No provision has been made for depreciation of Assets : renewals are charged to Revenue .
£377,303 £411,926
I have examined the foregoing Account and Balance Sheet . I have obtained all the informa - tion and explanations that I have required and I certify, as the result of my audit, that i n my opinion this Account and Balance Sheet are properly drawn up so as to exhibit a true and fair view of the transactions of the Arts Council of Great Britain and of the state o f their affairs. Signed: E . G. COMPTON, Comptroller and Auditor-General, Exchequer and Audit Department, 29th July, 196 5
96
Balance Sheet as at 31 st March, 19 6 5
Assets
1964 £ £ £ £137,682 Brought forward 5,955 150,59 5
Unsecured and only conditionally recoverable Balance as at 31st March, 1964 1,50 0 Less Reserve 1,500
6,080 5,955
17,960 Special Funds : Assets (see Schedule 6) 18,295
Investments 41 per cent British Electricity Guaranteed Stock 1974/79 (Market Value £2,281) 2,41 9 Equities Investment Fund for Charitie s (Market Value £2,823) 2,43 2 4,851 4,85 1
169,030 Grants and Guarantees Paid in Advance 165,000
Debit Balances Sundry Debtors and prepayments 32,35 4 Expenditure on future exhibitions in preparation 6,51 6 Due from Scottish Committee 42 Due from Welsh Committee 9 6 In transit from Welsh Committee 46 - 14 2 11,242 39,05 4
Cash On Bank Deposit 10,14 1 On Current Account 17,13 8 Imprests 54 7 In hand 35 0 30,458 28,176
£377,303 £411,92 6
Chairman: GOODMAN
Secretary-General : NIGEL J . ABERCROMBIE
9 7
The Arts Council of Great Britain
Schedule I General Expenditure on the Arts in England for the year ended 31st March, 1965
Music Opera and Ballet Grants and Guarantees (see Schedule 3) 1,586,672 Directly Managed Performances (Opera for All): Gross Expenditure 28,46 3 Less : Revenue 15,781 12,68 2 Symphony Orchestras Grants and Guarantees (see Schedule 3) 300,50 0 Other Activities Grants and Guarantees (see Schedule 3) 62,883 Wigmore Concert Hall: Gross Expenditure (including costs of repairs to building) 13,52 4 Less: Revenue 12,444 1,08 0 Less: Surplus on Wigmore Hall Catering 120 96 0 Audition Expenses 88 1,963,785 Drama Grants and Guarantees (see Schedule 3) 545,09 2 Art Grants and Guarantees (see Schedule 3) 11,25 0 Net Cost of Exhibitions (see Schedule 4) 76,26 3 Art Films Tours : Gross Expenditure 2,17 8 Less: Revenue 1,157 1,02 1 Art Film : Francis Bacon 466 89,000 Festivals Grants and Guarantees (see Schedule 3) 26,249 Poetry Grants and Guarantees (see Schedule 3) 4,49 4 Poetry Library and Miscellaneous Expenses 654 5,148 Arts Grants and Guarantees (see Schedule 3) 38,170 Associations Arts Centres Grants and Guarantees (see Schedule 3) 3,921 an d Arts Club s Shakespeare Grants and Guarantees (see Schedule 3) 16,55 0 Festival 1964 Stationery, Printing and Sundry Expenses 81 1 Poetry: Directly provided recital s Gross Expenditure 1,08 2 Less: Revenue 108 974 18,335
Net Expenditure transferred to Revenue and Expenditure Account 2:2,6$9,700
98
The Arts Council of Great Britain General Operating Costs for the year ended 31st March, 1965 Schedule 2 £ £ £
Salaries and Wages : Music 13,91 8 Drama 11,20 7 Art 21,71 3 Finance 21,25 0 Administration 28,039 96,12 7 Superannuation 6,494 102,62 1 Travelling and Subsistence 5,91 8 Rent and Rates 11,51 3 Fuel, Light and House Expenses 4,80 5
Publicity and Entertainment 5,89 3 Stationery and Printing 2,88 0 Office and Sundry Expenses 8,136
Transferred to Revenue and Expenditure Account £141,766
Note : Endowment benefits due to members of the Pension Fund are assured by Policies held by the Council .
99
The Arts Council of Great Britain Schedule 3 Grants and Guarantees for the year ended 31st March, 1965
Music Opera and Balle t Royal Opera House, Covent Garden Limited 1,055,00 0 Sadler's Wells Trust Limited 425,000 Mercury Theatre Trust Limited (Ballet Rambert) 37,00 0 London Opera Centre for Advanced Training and Development Limited 36,50 0 Western Theatre Ballet Limited 13,000 English Opera Group Limited 8,00 0 Intimate Opera Society Limited 2,00 0 Handel Opera Society 1,75 0 New Opera Company Limited 1,64 5 Balmin Productions Limited 1,27 0 tHarlequin Ballet Trust Limited 1,20 0 Youth and Music 60 0 tOther Opera and Ballet Societies 3,70 7 1,586,67 2
Symphony Orchestras tCity of Birmingham Symphony Orchestra 46,00 0 tEnglish Chamber Orchestra and Music Society 1,25 0 tHall6 Concerts Society 49,500 tLondon Philharmonic Orchestra Limited 19,000 tArts Council/London County Council Joint Orchestral Committee 39,00 0 Northern Sinfonia Concerts Society 23,000 Philomusica of London Limited 2,75 0 tRophora Limited (Royal Philharmonic Orchestra) 16,00 0 tRoyal Liverpool Philharmonic Society Limited 48,00 0 Western Orchestral Society Limited (Bournemouth Symphony Orchestra) 56,000 300,500
Other Activitie s tBrighton Philharmonic Society Limited 2,500 British Institute of Recorded Sound (Central Gramophone Library) 1,25 0 tHaydn-Mozart Society 1,800 tInstitute of Contemporary Arts (Music Section) 1,40 0 Mamaghten Concerts 1,00 0 tThe Royal Philharmonic Society 4,45 0 Society for the Promotion of New Music 1,75 0 Payments to Music Societies and Clubs affiliated to the National Federatio n of Music Societies in respect of guarantees (including Federation Administration) 40,01 1 tDirect Grants and Guarantees to Musical Organizations for Special Concert Activities 8,722 62,883
Carried forward £1,950,055 t Maximum commitments are given, not necessarily the amounts paid .
10 0
Brought forward £1,950,05 5 Drama tBarrow-in-Furness : Renaissance Theatre Trust Company Limited 3,80 0 tBirmingham Repertory Theatre Limited 17,55 0 tBristol Old Vic Trust Limited 17,500 tBromley Theatre Trust Limited 3,645 tCambridge: The Arts Theatre of Cambridge Limited 800 tCanterbury Theatre Trust Limited 5,200 Century Theatre Limited 4,00 0 tCheltenham Everyman Theatre Company Limited 6,77 5 tChesterfield Civic Theatre Limited 3,65 0 tColchester Repertory Company Limited 5,90 0 tCoventry : Belgrade Theatre Trust (Coventry) Limited 18,05 0 Crescent Theatre (New Building) Trust Limited 50 0 Crewe Theatre Trust Limited 98 0 Croydon : New Pembroke Theatre (Croydon) Limited 2,00 0 tDerby Playhouse Limited 4,850 tFarnbam Repertory Company Limited 3,709 Guildford : Yvonne Arnaud Theatre Trust 5,000 tHarrogate (White Rose) Theatre Trust Limited 2,55 0 tHornchurch Theatre Trust Limited 5,50 0 tIpswich Arts Theatre Trust 6,30 0 tLeatherhead Repertory Company Limited 5,70 0 tLeicester Theatre Trust Limited 5,52 5 tLincoln Theatre Association Limited 10,35 3 tLiverpool Everyman Theatre Company Limited 5 0 tLiverpool Repertory Theatre Limited 7,30 0 London: tEnglish Stage Company Limited 32,50 0 tHampstead Theatre Club Limited 70 0 Caryl Jenner Productions Limited 13 4 tMermaid Theatre Trust 9 .325 tNational Theatre Board 142,000 New Shakespeare Company Limited 2,00 0 Newstage Limited 950 told Vic Trust Limited 21,00 0 Repertory Players 54 Loughborough and District Theatre Association Limited 1,50 0 Margate Stage Company Limited 334 tNewcastle : Flora Robson Playhouse 5,40 0 tNorthampton Repertory Players Limited 6,55 0 tNottingham Theatre Trust Limited 18,310 Oldham Repertory Theatre Club 6,000 tOxford : Meadow Players Limited 13,85 0 Oxford Theatre Group 1 2 tOxford University Theatre 400 tPlymouth Arts Guild 3,10 0
Carried forward £411,306 £1,950,05 5 t Maximum commitments are given, not necessarily the amounts paid .
10 1
Y £ Brought forward 411,306 1,950,05 5 Drama Prospect Productions Limited 3,800 (continued) tRichmond Theatre Productions Limited 2,200 tRosehill Arts Trust Limited 250 St. Edmundsbury Theatre Royal Trust Limited 500 fSalisbury Arts Theatre Limited 6,850 tScarborough Theatre Trust Limited 1,44 1 tScunthorpe: Civic Theatre 1,25 0 tSheffield Repertory Company Limited 10,304 Southampton: Cockpit Theatre Trust Limited 250 tStratford upon Avon: Royal Shakespeare Theatre 88,000 tStudio Theatre Limited 6,37 5 tYork Citizens' Theatre Trust Limited 4,700 The British Centre of the Interntional Theatre Institute 250 Council of Repertory Theatres 350 National Council for Civic Theatres 200 Bursaries and New Drama Expenses 2,125 tTraining Schemes 4,941 545,092
Art tBournemouth Arts Club 12 0 Brentwood Art Society 3 0 tBromley Art Society 5 0 Bruton Art Society 2 5 Christchurch: Red House Museum and Art Gallery 7 5 tCirencester Arts Club 7 5 Colchester Art Society 5 0 tFolkestone : New Metropole Arts Centre 35 0 tHigh Wycombe Arts Festival 2 5 Ilkley Art Club 3 0 Lake District Art Gallery Trust 800 Leeds University Union 12 0 London : Artists International Association 14 0 tAssociation of the Polish Artists in Great Britain 6 0 Council of the Building Centre Limited 10 0 Institute of Contemporary Arts 3,000 tThe Finsbury Art Group 40 tFree Painters Group 50 The London Group 75 0 tSociety for Education through Art 200 United Kingdom National Committee of the International Associatio n of Plastic Arts 20 0 Whitechapel Art Gallery 1,000 tWomen's International Art Club 350 tYoung Contemporaries 1965 45 0 Manchester : Northern Crafts Centre Limited 7 5 Midland Group of Artists 1,15 0 Newcastle Society of Artists 5 0 tThe Newlyn Society of Artists 30 0 Norfolk Contemporary Art Society 5 0 Oxford : Bear Lane Gallery Limited 75 0 Oxford University Art Club 3 0 tThe Penwith Society of Arts in Cornwall 600 Carried forward £11,095 £2,495,14 7 t Maximum commitments are given, not necessarily the amounts paid .
102
Brought forward 11,095 2,495,14 7 Art tPetersfield Arts and Crafts Society 2 5 continued) Slough Art Society 2 5 Stroud Festival Art Committee 25 tTruro and District Art Society 30 Welland Valley Arts Society 1 0 Wellingborough Art Society 40 11,25 0
Arts Aldeburgh Festival of Music and the Arts 2,500 Festivals Bath Festival Society Limited 2,80 0 tBattle and District Arts Group 15 0 Cambridge Festival Association Limited 350 Cheltenham Arts Festivals Limited : Cheltenham Festival of British Contemporary Music 1,67 5 tGloucester : Three Choirs Festival Association Limited 3,00 0 Haslemere : The Dolmetsch Foundation 563 King's Lynn : The St . George's Guildhall Limited 1,25 0 Leeds Triennial Musical Festival 2,91 2 Little Missenden Festival 21 2 London : City Arts Trust Limited 2,00 0 Ludlow Festival Society Limited 38 7 tNorfolk and Norwich Triennial Musical Festival 1,25 0 tStratford upon Avon : 1964 Shakespeare Anniversary Council 7,00 0 tStroud Festival of Religious Drama and the Arts 20 0 - 26,24 9
Poetry The Apollo Society 450 The British Institute of Recorded Sound (Recorded Literature Grant) 5 0 Cley Women's Institute (Little Festival of Poetry, Cley-next-the-Sea) 1 1 Contemporary Poetry and Music Circle 5 0 tTbc Dulwich Group 6 0 tTbe Poetry Book Society Limited : General 700 Festival of Poetry 85 0 - 1,55 0 tSociety of Barrow Poets 275 tStratford upon Avon : Trustees and Guardians of Shakespeare's Birthplace 55 5 Poetry Publications: ° t'Agenda' 6 0 t`Ambit' 10 0 t`Extra Verse' 6 8 'Outposts' 10 5 t'Resuscitor' 4 0 'The Review' 15 0 t'Stand' 9 0 t'Universities Poetry' 13 0 tPoetry Bursary 750 - 4,494
Arts tMidland Arts Association Associations Administration 62 5 Transport Subsidy 50 0
Carried forward £1,125 £2,537,140 t Maximum commitments are given, not necessarily the amounts paid .
103
Brought forward 1,125 2,537,14 0 Arts Midland Arts Association (continued ) Associations Arts Centres and Clubs: (continued) Alfreton and District Arts Associatio n 13 0 Boston: Blackfriars Trust Appeal 50 0 tCannock Arts Council 3 5 tCoventry : Umbrella Club 27 5 tDadley Arts Council 15 0 tKettering and District Three Arts Club 6 0 tLeek and District Arts Club 100 tLincoln Society of Arts 6 0 tSolihull Society of Arts 40 tStafford and District Arts Council 27 5 tTamworth Arts Clu b 20 Wolverhampton Civic Hall Arts Society 30 - 2,80 0 North Eastern Association for the Art s 30,00 0 tSouth Western Arts Associatio n Administration 2,37 5 Transport Subsidy 50 0 2,87 5 Arts Centres and Arts Clubs : Blandford Arts Club 7 5 Chippenham and District Society of Arts 3 5 Dawlish Arts Festival s 3 0 tDevon Guild of Craftsmen 2 0 Exeter Arts Group 15 0 Falmouth : Royal Cornwall Polytechnic Societ y 30 0 tIsle of Purbeck Arts Club 5 0 Launceston Society of Arts 12 5 tMinehead Arts Society 150 Newton Abbot and District Society of Art s 50 tPlymouth Arts Centre 300 tSt. Austell Society of Arts 400 tShaftesbury and District Arts Club 300 tTaunton Deane Arts Society 6 0 tTruro Three Arts Society 5 0 5 0 tWarminster Arts Club 5 0 tWeston-super-Mare Society of Arts tWeymouth and South Dorset Arts Centr e 300 5,37 0 38,17 0
Arts Centres tBeccles and District Arts Society 2 5 and Arts tBridgnorth : Theatre on the Steps 30 0 Clubs Bristol Arts Centre 50 0 Cannon Hill Trust Limited (Midland Art Centre for Young People ) 70 1 tCrewe and District Music and Arts Society 20 Cromer Society 5 0 tFrodsham Music and Arts Club 2 0 y 7 0 tHuntingdonshire Music and Arts Societ King's Lynn: St. George's Guildhall Limited 30 0 Manchester Institute of Contemporary Art s 30 0 tMarple Arts Group 35 Carried forward £2,321 £2,575,31 0 t Maximum commitments are given, not necessarily the amounts paid .
104 Brought forward 2,32 1 2,575,31 0 Arts Centres tNewmarket and District Arts League 40 and Arts Rosehill Arts Trust Limited 50 0 Clubs Stables Trust Limited 30 0 (continued) tTring Arts Society 4 0 tWaltham Holy Cross Arts Council 4 0 tWest Wight Arts Association 45 Worcester Arts Association (S.A.M.A .) Limited 600 tWorsley Art and Music Society 3 5 - 3,92 1 Shakespeare Music Festival 1964 London : City Arts Trust Limited 5,000 Drama Barrow-in-Furness : Renaissance Theatre Trust Company Limited 40 0 Bristol Old Vic Trust Limited 2,00 0 British Centre of the International Theatre Institute 2,30 0 Cheltenham Everyman Theatre Company Limited 350 Farnham Repertory Company Limited 500 Leicester Theatre Trust 600 Lincoln Theatre Association Limited 90 0 London : Mermaid Theatre Trust 1,00 0 Northampton Repertory Players Limited 750 Nottingham Theatre Trust Limited 1,500 Sheffield Repertory Company Limited 1,000 Films British Film Institute 25 0 - 16,550
£2,595,78 1
t Maximum commitments are given, not necessarily the amounts paid .
105
The Arts Council of Great Britain Schedule 4 Art Exhibitions
£ £ Gross Expenditure Transport 54,01 1 Organizing 23,22 7 Insurance 20,70 0 Catalogues 28,03 8 Publicity 11,03 7 Materials 4,60 6 Hiring Fees 355 141,97 4
Less: Revenue Admissions 35,05 2 Catalogue Sales 22,921 Exhibition Fees 7,73 8 65,71 1
Net Expenditure transferred to Schedule 1 £76,26 3
106
The Arts Council of Great Britai n Special Funds Schedule 5 £ £ £ Pilgrim Trust Special Fund
As at 31st March, 1964 1,738 Add: Income during year 90 - 1,828 H. A . Thew Fund Capital Account 7 , 77 3 Income Account:
Balance at 31st March, 1964 26 1 Add: Income during year 560
82 1 Less: Payments during year 29 6 - 525 - 8,298 Mrs Thornton Fund
Capital Account 5,12 4 Income Account:
Balance as at 31st March, 1964 52 8 Add. Income during year 29 9
82 7 Less: Payments during year 40 0 - 427 - 5,55 1 Arts Council: Theatre Royal Bristol Reserve Fun d As at 31st March, 1964 51 4 National Manuscript Collection of Contemporary Poets Fun d As at 31st March, 1964 2,02 2 Income during year 5 1 - 2,073 Compton Poetry Fun d
Income during year 3 1
Total Special Funds as per Balance Sheet £18,295
107
The Arts Council of Great Britain Schedule 6 Special Funds: Assets as at 31st March, 1965 Nominal Market Book Value Value Value *
Pilgrim Trust Special Fun d 5 per cent Treasury Bonds 1986/89 744 606 647 Equities Investment Fund for Charities 619 754 650 Cash on Bank Deposit 494 Cash on Current Account 3 7 - 1,828
H. A . Thew Fund 3 per cent British Transport Stock 1978/88 2,105 1,273 1,93 7 31 per cent Conversion Stock 2,810 1,517 2,76 8 Equities Investment Fund for Charities 2,922 3,561 3,06 8 Cash on Bank Deposit 45 4
Cash on Current Account 7 1 - 8,298
Mrs Thornton Fund 2j per cent Consolidated Stock 665 263 48 9 51 per cent Conversion Stock 1974 (P .O . Issue) 200 186 20 3 3 per cent British Transport Stock 1978/88 355 215 337 51 per cent Funding Stock 1982/84 110 100 10 0 5 per cent Treasury Bonds 1986/89 1,825 1,487 1,58 8 Equities Investment Fund for Charities 2 1217 2,702 2 9 32 8 Cash on Bank Deposit 40 6 Cash on Current Account 100 5,55 1
Arts Council : Theatre Royal Bristol Reserve Fun d Cash on Current Account 51 4
Carried forward £14,572 £12,664 £16,19 1 *Includes Investments at cost or at market value at date of transfer .
108
Nominal Market Book Value Value Value* £ £ £ £ Brought forward 14,572 12,664 16,19 1 National Manuscript Collection of Contemporary Poets Fun d Manuscripts at cost 1,93 5 Cash on Bank Deposit 13 2 Cash on Current Account 6 - 2,07 3
Compton Poetry Fund Cash on Bank Deposit 3 1
£14,572 £12,66 4
Total Special Fund Investments as per Balance Sheet £18,295
•Includes Investments at cost or at market value at date of transfer .
1 .09
The Council's Committee in Scotland
1963j64 £ £
£156,809 General Expenditure on the Arts (see Schedule 1) 176,457 18,856 General Operating Costa (see Schedule 2) 21,18 4 1,326 Capital Expenditure Transferred to Capital Account 1,36 0 Loans Cancelled During Year: Dundee Repertory Theatre Limited 1,00 0 Glasgow : Citizens' Theatre Limited 6,00 0 Scottish National Orchestra Society Limited 5,00 0 - 12,00 0 Balance carried down 5,396
£176,991 £216,397
128 Balance brought down - 1,976 Balance carried forward to Balance Sheet 7,372
£2,104 £7,372
11 0
Revenue and Expenditure Accoun t for the year ended 31 st March, 19 6 5
1963%64 £ £ £174,600 Grant from the Arts Council of Great Britain 202,789 Cancellation of Grants and Guarantees i n 721 previous year not required 749 - Cancellation of Reserve for Loans 12,000 72 Amount Transferred from Reserve for Capital Purchase - Sundry Receipts Interest on Deposit Account 48 5 Proceeds of Sale of Assets 13 2 Tax Refund 238 Miscellaneous 4 1,470 - 859 128 Balance carried down -
£176,991 £216,39 7
2,104 Balance brought forward at 1st April, 1964 1,976 - Balance brought down 5,396
£2,104 £7,37 2
111
The Council's Committee in Scotland Liabilities
1964 £ £ £ Capital Account Balance as at 31st March, 1964 27,51 6 Add Capital Expenditure during year transferre d from Revenue and Expenditure Account 1,36 0
28,87 6 Less Book Value of Assets sold : Office Equipment 6 9 Theatre and Concert Hall Equipment 95 8 Book value of Assets donated : Theatre and Concert Hall Equipment 400
1,42 7 £27,516 27,449 6,242 Grants and Guarantees Outstanding 5,922 Credit Balances Sundry Creditors and Accrued Liabilities 5,45 1 Due to Headquarters 42
4,782 5,49 3
£38,540 Carried forward £38,864
112
Balance Sheet as at 31 st March, 19 6 5 Assets
1964 £ £ Freehold Property £8,307 11 Rothesay Terrace, Edinburgh 8,30 7 Office Equipment At valuation as at 31st March, 1955, and additions at cost , less items sold or written off, to 31st March, 1964 3,71 2 Additions at cost during year 155
3,86 7 Less items sold during the year 6 9 3,712 3,79 8 Motor Cars 1,451 At cost 1,45 1 Piano Account 200 At valuation as at 31st March, 1955 20 0 Theatre and Concert Hall Equipment At cost as at 31st March, 1964 2,97 5 Less items sold or donated during year 1,35 8 2,975 1,61 7 Pictures, Sculptures and Tapestry At cost as at 31st March, 1964 9,435 Additions at cost during year 1,179 9,435 10,61 4 Reproductions 672 At cost 67 2 Lithograph s At cost as at 31st March, 1964 764 Additions at cost during year 2 6 764 790
£27,516 Carried forward £27,44 9
11 3
The Council's Committee in Scotland Liabilities
1964
£38,540 Brought forward 38,86 4 Revenue and Expenditure Account
1,976 Balance as at 31st March, 1965 7,37 2
Note: No provision has been made for depreciation of Assets : renewals are charged to Revenue .
£40,516 £46,236
I have examined the foregoing Account and Balance Sheet . I have obtained all theinforma- tion and explanations that I have required and I certify, as the result of my audit, that i n my opinion this Account and Balance Sheet are properly drawn up so as to exhibit a true and fair view of the transactions of the Arts Council's Committee in Scotland and of the state of their affairs . Signed: E . G. COMPTON, Comptroller and Auditor-General, Exchequer and Audit Department, 29th July, 196 5
114
Balance Sheet as at 31 st March, 19 6 5 Assets
1964 £ £27,516 Brought forward 27,44 9 Loans to Associated and Other Organization s Unsecured and only conditionally recoverabl e 12,00 0 Less loans previously reserved, cancelled during year 12,00 0
Debit Balances 4,203 Sundry Debtors and payments in advance 4,60 7 Cash On Bank Deposit 12,20 0 On Current Account 1,88 5 Imprest s 1 0 In hand 85 8,79 7 14,180
£40,51 6 £46,236
Chairman of the Scottish Committee : C . H. MACKENZIE Secretary-General: NIGEL J. ABERCROMBIE
115
The Council's Committee in Scotland Schedule 1 General Expenditure on the Arts for the year ended 31st March, 1965 £ £ £ Music Oper a Grants and Guarantees (see Schedule 3) 10,63 0 Ballet Tour s Gross Expenditure 2,73 8 Less: Revenue 89 0 - 1,848 Symphony Orchestra Grant (see Schedule 3) 55,50 0 Other Activitie s Grants and Guarantees (see Schedule 3) 4,77 2 Directly Provided Concerts Gross Expenditure 13,21 8 Less : Revenue 4,904 - 8,314 13,08 6 Drama Grants and Guarantees (see Schedule 3) 59 9 366 Tours Gross Expenditure 7 939 7 Less: Revenue 2,89 7 - 4,500 Puppet Tours Gross Expenditure 58 6 Less : Revenue 47 7 - 10 9 - 63,97 5 Art Grants and Guarantees (see Schedule 3) 1 9 16 5 Exhibitions: Gross Expenditure 7,342 Less : Revenue 97 4 - 6,368 Art Films Gross Expenditure 31 8 Less : Revenue 2 5 - 293 Lecturers' Fees and Expenses 1,03 3 Less : Fees received 33 3 - 70 0 - 8,526 Festivals Grants and Guarantees (see Schedule 3) 20,550 Arts Centres Grants and Guarantees (see Schedule 3) 816 and Arts Clubs Shakespeare Grants and Guarantees (see Schedule 3) 1,426 Festival 1964 Art Exhibitions 100 - 1,526
Net Expenditure transferred to Revenue and Expenditure Account £176,457
116
The Council's Committee in Scotlan d
General Operating Costs for the year ended 31st March, 1965 Schedule 2 £ £ Salaries and Wages 14,729 Superannuation 94 5 Travelling and Subsistence 1,18 6 Rates, Fuel, Light and House Expenses 2,14 3 Publicity and Entertainment 286
Stationery and Printing 41 0 Office and Sundry Expenses 1,48 5
Transferred to Revenue and Expenditure Account £21,184
Note : Endowment benefits due to members of the Pension Fund are assured by Policies held by the Council .
11 7
The Council's Committee in Scotland Schedule 3 Grants and Guarantees for the year ended 31st March, 1965
£ £ Music Oper a Scottish Opera Society 9,000 tAmateur Operatic Societies 1,63 0 - 10,63 0
Symphony Orchestra Scottish National Orchestra Society Limited 55,500 Other Activities tAberdeen Association of Organists 10 0 tCollege of Piping 17 5 tConnoisseur Concerts Society 20 0 tEdinburgh Lunch Hour Concerts 30 0 Edinburgh Organ Recitals Committee 12 0 tNational Federation of Music Societies 3,438 Saltire Society 97 St . Giles Singers 6 2 tDirect Grants and Guarantees to Music Clubs (£50 and under) 28 0 - 4,77 2
Drama British Centre of the International Theatre Institute 25 tDundee Repertory Theatre Limited 13,203 tEdinburgh Gateway Company Limited 6,67 1 Edinburgh: Traverse Theatre Club 1,09 3 tGlasgow: Citizens' Theatre Limited 18,88 8 tPerth Repertory Theatre Limited 12,11 4 tPitlochry Festival Society Limited 6,72 5 Prospect Productions Limited 18 7 St . Andrews Play Club-Byre Theatre 46 0 - 59,36 6
Art Aberdeen Artists Society 2 0 tThe Arran Gallery 40 tBritish Actors Equity Association 50 Edinburgh : '57 Gallery 100 tEducational Films of Scotland 25 0 Falkirk Arts and Civic Council 1 2 tGalashiels Arts Club 7 0 tGlasgow: Citizens' Theatre Limited 22 9 Grail Book and Art Centre 5 0 tNewton Stewart Arts Club 7 2 Scottish Society of Women Artists 16 5 Stirling Festival Committee 10 7 - 1,165
Festivals Edinburgh Festival Society Limited 20,00 0 tEast Kilbride Autumn Festival 150 Montrose Town Improvement Association 40 0 - 20,55 0
Carried forward £151,983
11 8
F £ Brought forward 151,983 Arts Centres Atholl Arts Guild-Pitlochry 44 and Biggar Music Club 10 0 Arts Clubs tHaddo House Choral Society 50 tGreenock Arts Guild 33 2 tTroon Arts Guild 290 - 81 6 Shakespeare Dundee Repertory Theatre Limited 25 0 Festival 1964 Edinburgh Gateway Company Limited IS O Glasgow: Citizens' Theatre Limited 300 Haddo House Choral Society 6 0 Perth Repertory Theatre Limited 20 0 Pitlochry Festival Society Limited 200 Scottish Association for the Speaking of Verse 25 Scottish Community Drama Association 19 1 St . Andrews Play Club-Byre Theatre 50 - 1,426
£154,225
t Maximum commitments are given, not necessarily the amounts paid .
119
The Council's Committee in Wales
1963/64 £ £115,188 General Expenditure on the Arts (see Schedule 1) 135,73 8 21,869 General Operating Costs (see Schedule 2) 21,88 1 7,177 Capital Expenditure Transferred to Capital Account 1,61 1
£144,234 £159,230
904 Balance brought down 458 1,968 Balance carried forward to balance sheet 1,510
£2,872 £1,968
120
Revenue and Expenditure Accoun t for the year ended 31 st March, 19 6 5
1963/64 £ £ £140,432 Grant from the Arts Council of Great Britain 155,57 5 Cancellation of Grants and Guarantees and provisions for fees and expenses 412 in previous year not required 2,15 5 1,861 Amount Transferred from Reserve for Capital Purchases - Sundry Receipts : Interest on Deposit Account 48 2 Proceeds of Sale of Assets 535 Miscellaneous 25 625 - 1,04 2 904 Balance carried down 458
£144,234 £159,23 0
2,872 Balance brought forward at 1st April, 1964 1,96 8
£2,872 £1,96 8
121
The Council's Committee in Wales Liabilities
1964 £ £ Capital Account Balance as at 31st March, 1964 26,90 5 Add Capital Expenditure during the year transferred fro m Revenue and Expenditure Account 1,61 1
28,51 6 Less Book Value of Assets Sold: Motor Car 80 0 £26,905 27,71 6 14,425 Grants and Guarantees Outstanding 16,467 Credit Balances Sundry Creditors and Accrued Liabilities 4,46 2 Due to Headquarters 9 6 2,187 - 4,55 8 Revenue and Expenditure Account 1,968 Balance as at 31st March, 1965 1,51 0
Note: No provision has been made for Depreciation of Assets: renewals are charged to Revenue .
£45,485 £50,25 1
I have examined the foregoing Account and Balance Sheet. I have obtained all the informa- tion and explanations that I have required and I certify, as the result of my audit, that i n my opinion this Account and Balance Sheet are properly drawn up so as to exhibit a true and fair view of the transactions of the Arts Council's Committee in Wales and of the stat e of their affairs. Comptroller and Auditor-General: E. G . COMPTO N Exchequer and Audit Department, 29th July, 1965
122
Balance Sheet as at 31st March, 196 5 Assets
1964 £ Freehold Property £4,300 56 Ruby Street, Cardiff 4,300 Office Equipment At cost as at 31st March, 1964 4,67 6 Additions at cost during yea r 125 4,676 4,80 1 Motor Vans and Cars At cost as at 31st March, 1964 4,25 7 Additions at cost during yea r 88 4
5,14 1 Less items sold during year 80 0 4,257 4,341 Theatre Properties and Equipment At cost as at 31st March, 1964 1,69 6 Additions at cost during year 7 4 1,696 1,770 Pictures and Sculpture s At cost as at 31st March, 1964 8,86 9 Additions at cost during year 45 4 8,869 9,323 Art Exhibition Equipment At cost as at 31st March, 196 4 2,94 6 Additions at cost during year 7 4 2,946 3,020 Reproduction s 161 At cos t 161 Loans to Associated and Other Organization s Balance as at 31st March, 1964 5 0 Less repaid during year 5 0 50 Debit Balances 10,117 Sundry Debtors and payments in advance 4,047 Cash On Bank Deposit 17,27 1 On Current Account 1,14 2 In hand 75 8,41 3 18,48 8
£45,485 £50,25 1
Chairman of the Welsh Committee : GWYN JONES Secretary-General : NIGEL J . ABERCROMBIE
12 3
The Council's Committee in Wales Schedule I General Expenditure on the Arts for the year ended 31st March, 1965 £ £ £ £ Music Opera Grants and Guarantees (see Schedule 3) 54,460 Drectlyi Managed Performances (Opera for All) : Gross Expenditure 8,52 2 Less: Revenue 3,413 5,10 9 - 59,56 9
Other Activitie s Grants and Guarantees (see Schedule 3) 7,779 Drectlyi Provided Concerts: Gross Expenditure 32,07 0 Less : Revenue 16,494 15,576 23,35 5
Drama Grants and Guarantees (see Schedule 3) 6,57 7 The Welsh Theatre Company: Administration and Operational Expenditure 8,804 Preproduction Costs 1,741 English Language Tours: Gross Expenditure 13,559 Less : Revenue 2 9 26 1 - 11,29 8
Welsh Language Tours : Expenditure 17 21,860 28,437
Art Grants and Guarantees (see Schedule 3) 1,086 Exhibitions: Gross Expenditure 12,744 Less : Revenue 1,803 - 10,94 1
Art Fibres Tours: Gross Expenditure 35 1 Less : Revenue 25 4 - 97 12,124
Festivals Grants and Guarantees (see Schedule 3) 8,18 5 Poetry and Grants and Awards (see Schedule 3) 12 5 Literature Arts Grants and Awards (see Schedule 3) 2,100 Associations
Carried forward £133,89 5
124
Brought forward 133,89 5
Shakespeare Drama-Welsh Theatre Company: Festival 1964 English Language Tours: Gross Expenditur e 1,31 9 Less : Revenue 382 937 Welsh Language Tours: Gross Expenditure 1,356 Less : Revenue 45 0 - 90 6 1,843
Net Expenditure transferred to Revenue and Expenditure Account £135,738
125
The Council's Committee in Wales Schedule 2 General Operating Costs for the year ending 31st March, 1965
£ Salaries and Wages 11,79 2 Superannuation 77 4 Travelling and Subsistence 2,18 1 Rent, Rates, Fuel, Light and House Expenses 3,195 Publicity and Entertainment 1,723 Stationery and Printing 779 Office and Sundry Expenses 1,437
Transferred to Revenue and Expenditure Account £21,88 1
Note: Endowment benefits due to members of the Pension Fund are assured b y Policies held by the Council.
126
The Council's Committee in Wales Grants and Guarantees for the year ended 31st March, 1965 Schedule 3 £ £ Music Oper a tThe Welsh National Opera Company Limite d 54,46 0 Other Activitie s Barry and District Concerts Committee 1,75 0 tEbbw Vale : National Federation of Music Societies 2,00 0 tOsbaston : Merlin Music Society 15 0 tPort Talbot Borough Council 15 0 tDirect Grants to Music and Arts Clubs for Concerts 3,72 9 7,77 9
Drama tAberystwyth: Kings Hall 25 0 Bangor University College Drama Society 7 7 Cardiff: Drama Council of Wales 75 0 Cardiff: New Theatre Trust 5,50 0 6,57 7
Art Aberystwyth: University College 2 0 Cardiff: Contemporary Art Society for Wales 20 0 Cardiff: `56' Group 100 Haverfordwest Art Exhibitions Council 5 0 Llwchwr Art Group 1 0 Merioneth Artists Society 1 3 tNeath and District Arts Club 7 5 Neuadd Idris Art Committee 7 5 Pontypool : South Wales Group 7 5 tSwansea: The Dillwyn Gallery 24 7 Tenby and District Arts Club 2 0 Wrexham Art Group 2 5 Society for Education through Art 17 6 1,08 6
Festivals Aberystwyth Festival of the Arts 10 0 tBarry Easter Festival 7 5 Brecknock County Festival 29 5 Cardiff: International Drama Festival of Wales 10 0 Caerphilly Arts Festival 60 0 Dee and Clwyd Festival of Music 45 0 Garthewin Drama Festival 30 9 Llandaff Festival 1,24 7 Llandudno: National Eisteddfod 5 0 Llangollen International Music Eisteddfod 50 0 Llantilio Crossenny Festival 8 7
Carried forward £3,81 3 £69,902 t Maximum commitments are given, not necessarily the amounts paid .
12 7 Brought forward 3,813 69,90 2 Festivals Merioneth Music Festival 40 (continued) Montgomery County Music Festival 68 7 'Swansea Festival of Music and the Arts 1,50 0 Swansea Welsh National Eisteddfod 2,11 0 tVale of Towy Music Festival 35 - 8,18 5 Poetry and Anglo Welsh Review 12 5 Literature Arts Anglesey Arts Fund 2,10 0 Associations
£80,31 2
t Maximum commitments are given, not necessarily the amounts paid .
128
Art Panel John Mortime r John Witt, Chairman John Neville, OD E Ronald Alley Harold Pinte r Professor Quentin Bell Reginald Salberg Alan Bowness Miss Dorothy Tutin Loraine Conran, FMA Sir Patrick W. Donner Music Panel Lawrence Gowing, CBE Professor Anthony Lewis, Chairma n Basil Gray, CBE Dr Gerald Abraham Adrian Heat h Madame Irina Baronova Ralph Holland Paul Beard, ODchE F . E . McWilliam Anthon y Professor Bernard Meadows, ARCA David BicknelBickknell Roland Penrose, CBE Geoffrey Bush, DMus Professor Nikolaus Pevsner, CBE, PhD George Christie John Pope-Hennessy, CBE Joseph Cooper Norman Reid Frederic R . Cox, ODE The Earl of Rosse, MBE Professor Thurston Dar t John Russell Meredith Davie s R . J . Sainsbury, ACA Alan t Evans, CBE Hugh Scrutton Alan Fran k Mrs K . L . Somerville, OBE Douglas Gues t Adrian D . Stokes Professor Ivor Keys, DMus David Sylvester Keith Leste r Francis Watson, MVO, FSA Denis Matthews Professor Carel Weight, CBE, ARA, RBA Gerald Moore, CB E Miss Thea Musgrave Drama Panel Andrew Porter Hugh Willatt, Chairman Dame Ninette de Valois, DBE Michael Barry, OB E Miss Nancy Burma n John Bury Poetry Panel Miss Jane Edgeworth, MBE C . Day Lewis, CBE, Chairman Michael Elliott Miss Patricia Bee r Martin Esslin Charles Causle y Robin Fox Leonard Clark, amt Peter Hall, CBE Patrick Garlan d Miss Margaret Harris J . C . Hall Miss Jocelyn Herbert Ted Hughes Professor Hugh Hunt Philip Larkin Hugh Jenkins, mP Edward Lucie-Smith Major-General Sir John Kennedy, GCMG, KCVO, KBE, Peter Porter CB, MC Peter Redgrov e Leo McKern Alan Ross . Dr A . H . Marshall Miss Stevie Smit h Bernard Miles Charles Tomlinson
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