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COUNCI L *Sir Ernest Pooley (Chairman) *Dr. B. Ifor Evans (Vice-Chairman) Mr. Bronson Albery Mr. C. M. Bowra *Sir Kenneth Clark *The Viscount Esher Mrs. B. Ayrton Gould Lord Harlec h Mrs. Cazalet Keir The Lady Keynes Mr. Eric Linklater *Sir Stanley Marchant The Countess of Rosebery Dr. James Welsh Dr. R. Vaughan Williams *Mr . W. E. Williams

SCOTTISH COMMITTE E Dr. James Welsh (Chairman ) Dr . Ernest Bullock Mr. James Fergusson Mr. Ian Finla y Mr. W. O . Hutchison Mr. Eric Linklater Mr. George T.McGLashan Dr. O. H. Mavor Sir Frank Mears Mr. J. R. Peddie (James Bridie) The Countess of Rosebery Mr. Neil Shaw

WELSH COMMITTE E Lord Harlech (Chainnar) Mr. Haydn Davies Mrs . Emrys Evans Sir Cyril Fox Mr. C. E. Gittim Mr. Wyn Griffith Professor Gwyn Jones Mn . Herbert Jones Dr. Parry Williams Dr. W J, William s ART PANE L Sir Kenneth Clark (Chairman ) Mr. Colin Anderson Sir Leigh Ashton Miss G. V. Barnard Mr. Philip Handy Mr . P. H. Jowett Mr. Edward Le Bas Mr. Henry Moore Air. Ernest Musgrave Mr. Eric Newton Mr. Herbert Read Mr. John Rothenstein Mr. Gordon Russell Mr. Francis Watson DRAMA PANE L The Viscount Esher (Chairman) Miss Peggy Ashcroft Mr. Hugh Beaumont Mr. John Burrell Sir Lewis Casson Mr. Noel Coward Darne Edith Evans Mr. John Gielgud Mr. Tyrone Guthrie Mr. Patrick Henderson Mr. Norman Higgins Mr. Walter Hudd Miss Beatrix Lehmann Mr. Bann Levy Mr. Miles Malleson Mr. J. B. Priestle y Miss Athena Sayler Mr. Alastair Sim Mr. Willard Stoker Mr. Stephen Thomas Mr. Eric Landless Turner MUSIC PANE L Sir Stanley Marchant (Chairman) Professor Gerald Abraham Mr. Lennox Berkeley Mr. Percy Herring Dame Myra Hess Dr. Herbert Howells Mr. Frank Howes Miss Mary lbberson Dr. Reginald Jacques Mr. James Lockyer Mr. W. McNaught Miss Audrey Mildmay Sir Malcolm Sargent Mr. Michael Tippett Mr. David Webster Miss Seymour Whinyates Dr. Thomas Wood

OPERA AND BALLET PANE L Sir Ernest Pooley (Chairman Sir John Anderson Mr. Rudolf Bing Mr. John Christie Mr. Eric Crozier Mr. Carl Ebert Mr. Arnold Haskel l Ain Frank Howes Mr. Owen Mase Mrs . H. B. Phillips Mr. Jay Pomeroy Mr. Philip Richardson Mr. James Robertson The Hon. James Smith Mr. Norman Tucker Miss Ninette de Valois Air. David Webster Sir Steuart Wilson * Member of Uxecutive Commitue

(k2CL4 c \(e COP Y

THE ARTS COUNCIL OF ARTS COUNCI L OF GREAT BRITAIN

REFERENCE ONLY

NOT REMOVE THIRD ~ FROM THE LIBRARY ANNUA L 1947-4 8

ADDENDUM Page 6, line 13, after " £360,000 " rea d " In addition, an extra grant of £30,000 was made by the Exchequer for the Covent Garden Oper a Trust, and a supplementary grant of £38,00 0 " etc.

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CONTENTS Page I. INTRODUCTIQN. 3 . . .. . ' - II. ART 9 III. DRAMA .- 13 IV. MUSIC 16 V. OPERA AND BALL=ET 19 . .4PPENPIXA ' The Ai4 Council of Great Britain : Audited Accounts, c 22

APPENDIX B The Arts Council of Great Britain, Scottish Office Audited Accounts, 1947/48 30 APPENDIX C Theatre Royal, Bristol : Audited Accounts, 1947/48 32 APPENDIX D (1) Standard Music Agreement 36 (2) Orchestras 38 (3) Music Societies and Clubs 38 (4) Concerts 39 APPENDIXE (1) Theatre Companies : Standard Drama Agreement 40 (2) List of Theatres, Companies, Operas, Ballets and Plays 43 APPENDIX F (1) List of Exhibitions 53 (2) Places where Exhibitions have been held 54 (3) Picture of the Month Scheme 57 APPENDIX G (1) Arts Clubs : Conditions of Association 58 (2) List of Arts Clubs 59 APPENDIXH " MUNICIPAL ENTERTAINMENTS by Miss Mary Glasgow 60

PHOTOGRAPHIC SUPPLEMENT 63 I. INTRODUCTION N accordance with the retirement provisions of the Royal The Members Charter, Mr. Ivor Brown and Sir Lewis Casson left the of the Council Council at the end of 1947. It was with the utmost regret that the Council had perforce to say goodbye. to them. They were both among the original promoters of CEMA, and had both served as Directors of Drama. The Council owes much to their inspiration and guidance, and is glad to know that their interest in its work is undiminished. The two vacancies on the Council, together with the two places hitherto left empty, were filled by the appointment by th e Chancellor of the Exchequer of Mr . Bronson Albery, Mr. C. M . Bowra, Mr. Eric Linklater and the Countess of Rosebery. In September, 1947, the Vice-Chairman undertook a tour of Canada, at the request of the Dominions Office, in order to spea k on the work of the Arts Council. He visited 33 centres, in- cluding Vancouver in the extreme West, and gave 49 lectures a s well as attending a number of functions and informal discussions . Large audiences received him with interest and his visit un- doubtedly strengthened the link which already exists between the Arts Council and its friends in the Dominion . Arrangements for retirement in alphabetical order, on th e The Committees same lines as those adopted for Council members, were applied for Scotlan d by the Council to the Committees for Scotland and Wales and t o and Wales the three specialist Panels. The Scottish Committee, which ha d been reconstituted only a year before, retained its membership at the end of December, 1947, but there were added to it on January 1st, 1948, four new members, Mr. James Fergusson, Mr. W. O. Hutchison, Mr. G. T. McGlashan and Sir Frank Mears. But the Council records with regret the death in August, 1947, of one o f the Committee's most active original members, Sir Willia m ' McKechnie. With the routine retirements from the Welsh Committee, th e Council was obliged to lose the services of Principal .Ifor L. Evans. Mr. Haydn Davies and Sir Cyril Fox were reappointed for a further year, and the one vacancy was filled by Professor Gwyn Jones. The Panels The retirements from the Music Panel were : Mr. F. Bonavia, Mr. Benjamin Britten, Dr. Ernest Bullock, Miss Joan Cross and Miss Ninette de Valois. The new appointments were : Professor Gerald Abraham, Mr. Lennox Berkeley, Mr. W. McNaught, Miss Audrey Mildmay and Dr . Thomas Wood . The members retiring from the Art Panel were : Sir Leigh Ashton, Mr. Duncan Grant and Major A . A. Longden. Mr. W. T. Monnington resigned during the year because of pressure of work. The new appointments were : Mr. Edward Le Bas, Mr. P. H. Jowett, Mr. Herbert Read, Mr. Gordon Russell, Mr. Allan Walton and Mr. Francis Watson. Sir Leigh Ashton was reappointed. It was with deep regret that the Council learnt of the death of Mr. Samuel Courtauld in December, 1947. The retirements from the Drama Panel were : Mr. Bronson Albery, Mr. Hugh Beaumont, Mr . E. Martin Browne, Mr. John Burrell and Mr. Alec Clunes. The new members were : Miss Peggy Ashcroft, Sir Lewis Casson, Dame Edith Evans, Mr . Patrick Henderson, Mr. J. B. Priestley, Mr . Willard Stoker and Mr. Eric Landless Turner. Mr. Hugh Beaumont and Mr. John Burrell were reappointed. In March, 1948, the Council announced the appointment of a fourth Panel for Opera and Ballet with the following member- ship : Sir John Anderson, Mr. Rudolf Bing, Mr. John Christie, Mr. Eric Crozier, Mr. Carl Ebert, Mr. Arnold Haskell, Mr . Frank Howes, Mr. Owen Mase, Mrs. H. B. Phillips, Mr. Jay Pomeroy, Mr . Philip Richardson, Mr . James Robertson, the Hon. James Smith, Mr. Norman Tucker, Miss Ninette d e Valois, Mr. David Webster and Sir Steuart Wilson . Of these, Miss Ninette de Valois transferred her services from the Musi c Panel, while Mr. Frank Howes and Mr. David Webster kindly agreed to remain members of both . The origin and purpose of the new Panel were somewhat different from those which lay behind the establishment of th e Music, Art and Drama Panels . The Council had been impressed by the need to provide a meeting place where those concerned i n Opera and Ballet could exchange views, analyse experience an d develop joint plans. As in the other arts, the Council hopes t o benefit by the expert advice of the new Panel members ; but it 4 will be seen that some of these have been chosen of set purpos e from the managements of the existing companies, and that thei r function is intended to be mutual collaboration as well as genera l consultation by the Arts Council. The Chairman of the Panel is the Chairman of the Council , Sir Ernest Pooley, and its Secretary is Mr. Eric White. No specialist Director for Opera and Ballet has been appointed t o the Council's staff', but the Directors for Music and for Dram a attend Panel meetings. The Council's staff at headquarters has remained practically The Stag'' unchanged apart from one serious loss. At the end of the yea r Steuart Wilson left the Council's service to become Music Director to the . B.B .C. It is no exaggeration to say that he is irreplaceable ; but this statement in no way detracts from th e warm welcome given to his successor, Mr . John Denison. Although this is to anticipate the period of the next Annua l Report, it must be recorded here that Mr . Wilson was awarded the honour of Knighthood in the King's Birthday Honours i n June, 1948. There were no changes among the Regional Directors . A fresh appointment, that of Dr . George Firth, was made to the staff o f the Scottish Committee and, on April 1st, 1948, a new post wa s created and Dr. Firth was given the title of Director for Scotland . Mrs. Fox, hitherto the Council's Officer for Scotland, becam e Deputy Director. A separate office for North Wales was opened on April 1st , 1947, at 1 Central Arcade, Hope Street, Wrexham . It is in the charge of a Deputy Director for Wales, Miss Myra Owen . On September 9th, 1947, the Council moved its headquarters The Council's from 9 Belgrave Square to 4 St. James's Square. This beautiful Headquarters house was sold on generous terms by the owner, Viscount Astor , for the use of the Arts Council and bought by the Governmen t for that purpose. The building is actually the oldest in the Square and its foundation dates from 1676 when a house was built on the site by Nicholas Barbon, the son of Praise-God Barebone , as part of the development of St . James's Fields by Henry Jermyn, Lord St . Albans. In 1725 this house was severely damaged by fire and the present house erected in its place for

the first Duke of Kent. The extent of the rebuilding is not quite clear and there is also some doubt about the architect responsible, but it is said that Lord Burlington advised on the design. Bowles's view of the Square in 1752 shows the fagade substantially as i t now appears. The house was occupied during the war first by the Free French Forces and then by a Government Department and is i n need of considerable redecoration and repair. Only graduall y will it be possible to equip it in a worthy manner, but the Council looks forward to making it a permanent home of dignity and charm. Firnance The Council's grant-in-aid from the Exchequer for the financia l year 1947/48 was £360,000 . In addition, a supplementary gran t of £38,000 to the Council's funds was voted by Parliament for th e further assistance of the Covent Garden Opera Trust . The budget for the year was strictly adhered to and the estimates made by th e Council for different purposes proved, in most cases, reasonably accurate. This is not to say that the funds available wer e sufficient. In many fields the Council's programme was limite d by lack of funds and the demand for assistance remained to o large for the Council to meet . Most grants were on the same scale as for the previous year and the policy of the Council was, in general, to concentrate on existing projects and the support of ventures already associated with it rather than to increase the number of fresh projects too quickly. Nevertheless, several new ventures were launched durin g the year with the Council's support, and chief among them must The be placed the Edinburgh International Festival of Music an d Edinburgh Drama which opened on August 24th, 1947, for a season of three Festival weeks. The success of the Edinburgh Festival, due as much to the vision and of the Lord Provost, Sir John Falconer, as to the skillgeVesorganisers of was a happy, beginning to the new era of festival in Great Britain. The Festival of It was accordingly apt that on December 5th, 1947, the Lord Britain 1951 president of the Council announced in Parliament the Govern- ment's decision to celebrate the centenary of the Great Exhibition of 1851 with a nation-wide Festival of Britain 1951 . The Festival, he said, was to be concerned with Industrial Design, Science and 6 Technology, and the Arts . The Arts Council was charged wit h the organisation of the programme in the arts and was requested to plan the celebrations, which would include not only London during the concentrated Summer Festival, but also a series of events at places large and small all over the country, throug h which the cultural traditions and resources of the nation could be shown to their best advantage to visitors from abroad . The Arts Council accepted the Government's invitation an d hopes to take every advantage, in collaboration with the Council of Industrial Design and the other experts concerned, of th e opportunity offered by the Festival . It believes that Great Britain has unparalleled artistic achievements to show, and that the traditional resources of the country can be displayed in a wa y which will be attractive to visitors as well as helping to establis h the work of contemporary artists and performers . The Council regards the Festival not as something incidental and passing, bu t as a part of its own continuing work in London and in the pro- vinces, in places large and small . Partly as a result of the Lord President's announcement, bu t partly also because of a spontaneous movement by local en- thusiasts, a number of smaller festivals were planned in different parts of the country during the year . All the new ones were arranged to take place after the end of the Council's year o n March 31st, 1948, and, therefore, fall outside the framework of this Report. The Council was, however, happy to be associated in the summer of 1947 with the established Festivals of Music an d Drama at Canterbury and of Contemporary Music at Cheltenham . The Council will do all it can to help with the planning of festival s in the years before 1951, in preparation for the year of celebra- tion ; but it ventures to hope that those concerned will, as far a s possible, reserve their special energies for that year . For this reason, its financial assistance to them will be limited . For the first time, this year, the Council gave financial help and Spoken Poe1r , association to the English Festival of Spoken Poetry which wa s held at the Institut Fran~ais from July 28th to the 31st, 1947 . This association, with the continuing work of the Apollo Society , establishes the Council's interest in the art of poetry . One of the most important events of the year for the arts was The Local the presentation to Parliament in February, 1948, of a new Loca l Government Government Bill containing a clause which gives greatly Act, 1948 creased powers to Local Authorities for the presentation of music and drama. Previously, the law had made it impossible, except by special provision, for Local Authorities to presen t concerts and plays under their own auspices and in their own buildings. By the Local Government Act of 1948 (the Bill became law in April, 1948) these limitations were removed, and Loca l Authorities, other than County Councils and Parish Councils , became empowered to spend money up to the product of a sixpenny rate on anything connected with such presentation . It is still to be seen how far and in what manner Local Authori- ties will take advantage of their new powers . It may be permitted to hope that they will not seek to implement them without careful thought and the advice of experts in these fields . The Arts Council has repeatedly expressed its desire to co-operate wit h Local Authorities with practical advice and it hopes to be o f service in a matter which must affect it closely and which ma y prove of inestimable value to the undertakings with which it i s associated (Cf. Appendix H). Arts Clubs The number of arts clubs and societies associated with the Arts Council rose during the year from 35 to 50. It is inevitable that the fortunes of these independent societies will vary fro m time to time and that most of them will need a considerabl e period before they are securely established . On the whole, the progress of arts clubs up and down the country with and withou t Arts Council support is encouraging . The clubs which have been able to achieve most are those which have premises of their own. The Council's own experi- ment at Bridgwater had a successful year with a full programm e and steadily increasing public support . Two other centres of particular interest were opened, a t Plymouth on October 22nd and at Dudley, in Worcestershire, on August 29th, and both have already gone far to establish them - selves in popular favour. The Netherton Arts Centre, at Dudley, marks an important development because it is the first to b e supported by a Local Authority by special powers which already existed in Dudley before the passing of the Local Government Act, 1948. Apart from the annual audited accounts which appear with the Scotland rest of the accounts in Appendix B to this Report, no details ar e given of the Council's work in Scotland . In April, 1947, the Committee for Scotland, which was appointed under the terms of the Charter, received a comprehensive grant from the Council , calculated on the " Goschen Formula " for the proportionat e allocation of Exchequer funds in Great Britain, and was asked t o administer this sum of £36,000 for the year at its discretion, within the framework of the Council's national policy . A separate Report on the year's work is published by the Scottis h Committee. II. ART During the year 1947/48 the Council has been able to arrange a number of major international exhibitions. The Exhibition o f French Tapestry, held in the Victoria & Albert Museum, wa s described in the last Report. It continued until July 8th, 1947, and attracted in all 92,786 visitors . During May three concerts of French chamber music were arranged by the Council at the Museum, under the patronage of His Excellency the French Ambassador. Next came the Van Gogh Exhibition, which Van Gogh probably made history in the spectacular response which was shown to it by the public . The pictures and drawings-the latter especially came as an unexpected joy to the people of thi s country-were from the Kroller-Muller Museum, by courtesy of the Dutch Government, and from the private collection of Mr . Vincent Van Gogh, the artist's nephew. The Tate Gallery Trustees kindly put their space at the Council's disposal and th e Exhibition was opened on December 10th, 1947 . During its five weeks' run the total number of visitors was 157,452. Thanks to the lenders' recognition of the Council's desire that its exhibition s should be made available to as wide a public as possible, th e visit of the Van Gogh pictures was extended to the Art Gallerie s at Birmingham and Glasgow, where their reception was equally enthusiastic. The attendance figures for the whole period of the exhibition amounted to 363,864. It is perhaps worth calling attention to the fact that, for the Van Gogh Exhibition, the Trustees of the Tate Gallery agreed to

an entrance charge of Is . On Saturdays and Sundays, however , admission was free. The principle adopted by the Trustees is th e same as that recognised by the Trustees of the other National Collections, namely that while entrance to the permanen t exhibitions should be free, an entrance charge may reasonably be made to the public to offset the high cost of visiting exhibitions , particularly those from abroad. The Van Gogh Exhibition was immediately followed, again at Marc Chagall the Tate Gallery, by a one-man show of Marc Chagall, whose work, seen for the first time in this country in any quantity , aroused a lively controversy . The third exhibition arranged in collaboration with the Tat e Paul Nash Gallery Trustees was the Paul Nash Memorial Exhibition, which opened on March 17th, 1948, and was preceded on the evenin g before the opening by a concert of English music, arranged b y the Arts Council in consultation with Mrs. Margaret Nash. The concert was honoured by the presence of Her Majesty Th e Queen. A large selection of important paintings from the exhibition then went on tour . Loan While the Council fully recognises the importance of thes e Exhibitions exhibitions of international standing, an attempt is being mad e to meet the increasing demands for exhibitions in the provinces . It must be admitted that there are serious difficulties even in maintaining the present supply of material for touring . When an exhibition has been arranged, there is at once a demand for it to visit a large number of places and, indeed, it is uneconomic for it not to do so. At the same time, it is understandable that owners should not wish to part with their pictures or other works of ar t for long periods and many of them feel justly that they did their duty by lending to travelling exhibitions during the war years and should not be expected to go on providing indefinite loans. The point is understandable and important but it is no t always appreciated by those who wish to borrow the Council' s exhibitions, or by the public in general . The Council has particular reason to be grateful to private lenders, and during the current year four notable exhibition s have been made up entirely from single private collections-th e French Paintings lent by Mr. Richard Peto ; the English Drawings 10 from Sir Robert Witt's collection ; the HickmanBacon Collec- tion of English Watercolours, which Sir Edmund Bacon gener- ously allowed to circulate for the second winter in succession , and a selection from the magnificent collection of Sir William Burrell, which was recently presented to the Glasgow Art Gallery. This was circulated in Scotland by the Scottish Committee . Various public galleries have also lent their pictures for touring by the Council, notably the Tate Gallery, whose exhibition of Modern British Paintings has been widely circulated and as widely appreciated. The public interest in contemporary painting is indisputably keener than it was and this particular exhibitio n has done much to sustain and spread that interest . A smaller exhibition was made up . in two parts from the Rutherston Collection, through the good offices of the Manchester City Ar t Gallery. A collection of oil paintings and watercolours by members of the Norwich School was provided by the Castle Museum, Norwich. Two exhibitions illustrating different aspects of English art- English English Romantic Art, 1780-1840 and the History of Shakespearean Romantic Art Production-prepared respectively by Mr . Geoffrey Grigson and Shakespearean Miss St. Clare Byrne, proved interesting . The latter, after Production visiting Stratford-on-Avon, was shown in London at the head - quarters of the National Book League and was then sent to Moscow by the Society for Cultural Relations with the U .S.S.R. Collections of Modern Turkish and of Modern Hungarian Turkish and Paintings have been lent to the Council by the Turkish an d Hungarian Hungarian Governments. Paintings Another exhibition from abroad was that of Danish Domestic Design, which, after its London opening in February, 1947 , circulated in collaboration with the Council of Industrial Design . An International Exhibition of Book Design, arranged by the Book Design National Book League, was shown at the League's headquarters. It was designed to represent the finest examples of book produc- tion in 1946 and is being repeated ; but it will be limited next time to the book design of this country. In March, 1947, it was decided, as an experiment, to invite The Work of art schools throughout England and Wales to submit the bes t Art Students work done by their students, from which it was intended to select 11

about 120 paintings and drawings for exhibition . Unfortunately the response was half-hearted, but an exhibition of 100 work s was formed and is now having a successful tour . Reproductions It is sometimes suggested that with the growing shortage of exhibition material more might be done to show reproductions. The public, however, vigorously proclaims its preference fo r " live " pictures. It remains true that certain exhibitions with a special purpose can be made up from reproductions if they ar e good enough, and the Council itself has prepared two such exhibitions-the Art of Landscape and the Art of Drawing-the former with the assistance of Mr. Lynton Lamb and the latter with the help of Mr. Bernard Meninsky. The Council's Regional Directors were increasingly active i n the collection and arrangement of works from local sources. Schemes for showing a Picture of the Month, or other single work of art, in an appropriate setting became widely popular. Pictures Regional were kindly lent by the Birmingham Art Gallery for local circula - Exhibi'tions tion and exhibitions were made up from the work of West Country Artists, and from the large collection of fashion plates belonging to Mr. Osborne Robinson, of Northampton, Fashion Plates since 1800. In Wales an exhibition was held of Welsh Landscape in British Art. Art Societies The Council is particularly anxious to encourage local art societies to extend their activities, so that they may play a part i n the life of their communities rather than limit themselves t o narrow sectional interests. To this end grants have been made t o art societies at Colchester and Huddersfield and to the Midland Regional Designers' Group at Nottingham. The Arts Centres at Plymouth and Bridgwater have reporte d a growing interest in the small exhibitions shown in their buildings. The British Travelling collections of reproductions and other small exhibi- Institute of tions are regularly produced by the British Institute of Adul t Adult Education Education, working as always in close collaboration with th e Council. Small exhibitions of this kind have in the course of the year visited all parts of the country and have been shown i n schools, canteens, shops, factories, and particularly in certai n isolated rural areas . In view of the insistent demand for exhibitions of contemporar y 12

painting and the increasing difficulty of borrowing pictures of The Council's this kind, the Council decided in June, 1947, to purchase another Collections collection of original paintings and a Sub-Committee of the Art Panel was appointed to make the selection . At the end of March, 1948, 17 pictures and drawings had been bought and , through the generosity of Miss Arno Welby, an important watercolour by the late Paul Nash was added to the collection . The original CEMA Collection, although now in its sixth year, has been split up into three small groups and is still givin g useful service. The Art Panel has met three times during the period under review and has given most valuable advice on the many matters which have been referred to it.

III. DRAMA The results of the Council's drama activities during the year have been encouraging. Much of the work of previous years has been consolidated and extended and several new developments hav e been initiated. The Council's own companies at Salisbury and Coventry have Salisbury and had considerably increased audiences and in this, their third Coventry season, have shown signs of becoming permanently establishe d in the affections of their public. As a result, with carefu l budgeting, the financial cost has been reduced in both cases and it is hoped that this trend will continue, although som e subsidy will always be required while the capacities of the build - ings remain as small as they are . The Old Vic Company at the Theatre Royal, Bristol, also in The Theatre its third season, showed a profit for the first time and its prestige Royal, Bristol grew. Several of its productions were of outstanding interest , including two new plays, one by a British and the other by a Russian dramatist . An important development of the Council's work in the pro- The vinces was the collaboration of five repertory companies in the South-west Association of South-West of England in a loose form of association, with the Theatre Bristol company in the role of an elder brother . A preliminary companies meeting took place in December, 1947 . The companies taking part were the Bristol Old Vic, the Salisbury Arts Theatre, th e 13 West of England Theatre Company based on Exmouth, the Avon Players from Falmouth and the English Ring Actors from Penzance. The advantage to these companies of the Theatre Royal and its attached Old Vic School was greatly appreciated and in January, 1948, a week's course in production was held at Bristol under the supervision of Hugh Hunt (the Old Vic pro- ducer) and Edward Stanley (the director of the School) . This course was attended by producers, stage directors and scen e designers from all the South-Westem companies and the result s were quickly apparent in the higher standard of production achieved when the participants returned to their respective companies. Associated The Council's associated companies numbered 31 at the en d Companies of the year. Their names are given in Appendix E. The London One of the greatest successes of the year was the first produc- Mask Theatre tion of the London Mask Theatre, J . B . Priestley's The Linden Tree, produced by Michael MacOwan with a cast headed by Sir Lewis Casson and Dame Sybil Thomdike . Two other plays of special interest were presented by the same management, The Hidden Years and Cockpit, although they did not arouse th e same popular response. The Old Vic The Old Vic presented a varied repertoire during the year, of which Richard II and The Taming of the Shrew were given at the Edinburgh Festival. Tennent Tennent Productions, formed in succession to Tennent Plays , Productions gave several interesting productions including an intimate revue , Tuppence Coloured, which was first presented at the Lyric Theatre, Hammersmith, by the Company of Four . The same company presented a number of new plays at the Lyric, each o f which was also played in three or four provincial towns, including Cambridge, Cardiff and Brighton. Sherek Sherek Players presented, among other plays, Shaw's You Players Never Can Tell, which ran for 311 performances in London, A Sleeping Clergyman, by James Bndie, and The Indifferent Shepherd, by Peter Ustlnov, in which Gladys Cooper returne d to the London stage. Among worth-while plays with a less popular appeal they presented Boys in Brown and Frenzy. The many established repertory theatres working in associa- 14 tion with the Council had generally successful seasons and , The among other valuable work, gave several dramatists the oppor- Provincial Repertory tunity of seeing their first plays produced before an audience. Theatres During the year 1947/48, in response to increasing loca l demands, the Council revived to some extent its earlier policy of Arts Council sending companies, directly managed and sometimes recruited Tours from Council headquarters, to tour the theatreless towns and country districts of the provinces . In May, 1947, the Pilgrim Players were sent on a five weeks' tour of Tyneside and the North- East with The Old Man of the Mountains, by Norman Nicholson , which Martin Browne had previously produced at the Mercury Theatre, London. In East Anglia and the East Midlands the London Mas k Theatre made a special production of The Linden Tree for a six weeks' tour under the Council's management prior to a tour o f ordinary urban theatres. . In the autumn, two tours of twelve weeks each were arranged by the Council with the co-operation and financial support of th e Miners' Welfare Commission. In South Wales, Peter Cotes pro- duced Priestley's An Inspector Calls and Eugene O'Neill's Anna Christie, while in the North-East Yvonne Le Dain produced Shaw's Arms and the Man and An Inspector Calls. In the spring of 1948 Peter Glenville produced a six weeks' tour of Shaw' s Major Barbara in South Wales which afterwards came to the Arts Theatre, London, for three weeks ; while Andre Van Gyseghem produced Robertson's Caste for the same period in the North-East. In every case the response of the audiences exceeded expectations and the total financial cost was consequently lower than had been estimated. Performances were given largely i n Miners' Welfare Halls, but were of course open to all members o f the community. During the year these eight plays were seen by over 95,000 people in 112 small towns and villages, many o f which received two or three visits by the touring companies . The Drama Panel held seven meetings during the year and The made several valuable recommendations to the Council . It Drama Panel assisted in drafting the Standard Drama Agreement which is no w the Council's formal contract with all associated companies an d is printed in its final form in Appendix E of this Report . The 15

assistance of the companies themselves in revising the original draft was invaluable and the advice of the Conference of Reper- tory Theatres was particularly appreciated. The Standard Drama Agreement was taken over in all essential respects by the Music Panel and is used as a formal contract with the Council's asso- ciated orchestras. IV. MUSIC The Council's support for music during the year 1947/48 followed the same lines and was on much the same scale as in the previous Orchntros year. The grants made to the symphony orchestras and to th e String and chamber and string orchestras were little changed and, while a Quartets certain amount of incidental help was given to new combinations for single concerts or series of concerts, there was no change in th e list of permanent, associated orchestras . The same was true of string quartets, four of which received outright grants for general purposes. The names of the associated orchestras are given in Appendix D. The absence of suitable concert halls in many large towns continues to be an embarrassment to all concerned with the organisation of orchestras. It is not only a question of th e amenities which are lacking, but of the fact that the orchestra s cannot hope to balance their expenditure on concerts given in buildings with inadequate seating capacity. Chamnber The Council's scheme of guarantees for chamber music clubs, music Ctubs an administered jointly with the National Federation of Music SocetieSocieties,d S Egear continued to expand and to show encouraging results . The number of clubs taking part in the scheme was 116 and t o these were added 41 larger societies, which were admitted to the scheme as they were not eligible for assistance from the Carnegie United Kingdom Trust. The average call on the Council's financial guarantee was 85 per cent . for chamber music clubs and 95 per cent . for the larger societies. These are higher figures than those of the previous year, but the rise i s accounted for by the general increase in costs to which all the music clubs, like other bodies, were subject without the com- pensation of being able to charge higher prices to the public t o cover them. In addition, the restrictions on the use of petrol for private cars led to reduced attendances in many places wher e audiences were scattered. 16 At the end of the year details were available for the first time of Industrial the working of the industrial music clubs over the first period of Music Clubs their existence from April 1 st, 1946 . The statistics show a total of 20 clubs with membership ranging from 200 to 1,400 . For all these clubs, the Council's scheme was to provide the fees of visiting musicians outright, leaving the club committees to pa y all other expenses and to keep all takings from the sale of ticket s for concerts and from members' subscriptions. This left most of the clubs with a substantial balance in hand and it is now the Council's aim to leave the full management of affairs, includin g the payment of concert artists' fees, to the club committees, wit h only a guarantee against loss to each from Council funds . The clubs are rapidly taking their place as independent organisations, with wide memberships not confined to factory workers . At the same time, it is too early to abandon the special scheme and the name which goes with it, for the advantages of organisation fro m a ready-made factory centre are considerable and there is still much pioneer work to be done. Concerts for factory workers, directly provided by the Council , are still in demand and are a valuable method of creating interes t in new centres. On March 31st, 1948, or shortly afterwards, however, the Industrial Music Organisers employed by th e Council to launch this part of its programme were released an d their work amalgamated with the rest of the work of the Regional Directors. The successful beginnings of the industrial music club s and their development owe much to the hard work and skill o f these members of the staff. The provision of concerts for factory workers as a first step Directly pro- towards the establishment of self-supporting clubs was, of course, vided Concerts only a part of the Council's programme of directly provide d concerts. These continued during the year and, although the number given was smaller than in the year before, 539 as agains t 875, the demand for them increased . It is satisfactory to recor d that the returns from these concerts were double those of 1946/47 : £8,563 on an expenditure of £19,886 as against £4,85 1 on an expenditure of £21,012 . It is the Council's policy to give its support as far as may be to independent music clubs and to encourage their establishment 17

wherever possible on the ground prepared by its own pioneer concerts. The efforts of the Regional Directors were applied t o this end during the year 1947/48. It must, nevertheless, be recorded that progress in some cases has been too fast and tha t local organisers have sometimes felt the need for more gradua l "nursing" before they are asked to take the responsibility o f managing their own affairs or, at least, before they becam e members of the National Federation of Music Societies. It has been suggested that the Council might take the initiative i n arranging courses of instruction for concert organisers. This is a possible line of approach for, while the encouragement and support of independent ventures remain the Council's central aim, the manner of doing so and the whole question of the 'delegation of responsibility must engage its close attention. It is clear that there are numbers of places and numbers of organisations for which concerts on the old CEMA model, ru n by the Council and provided at its risk, will always be needed . Concerts in isolated places, in conjunction with the Women's Land Army or the National Federation of Women's Institutes , pioneer concerts for factories, and for youth clubs in collaboratio n with Local Education Authorities, all these form part of the Council's educational work, and there is evidence that the demand for them is likely to be steady . Serenade The Serenade Concerts in the Orangery at Hampton Court Concerts palace were given again during an eight weeks' season by the New London Orchestra and the Jacques String Orchestra. The popular fame of these concerts is spreading. Another serenad e concert of a different kind was presented by the Apollo Society in the Gardens of Beaulieu Abbey on June 28th, 1947, when a programme of poetry and music was given by Robert Speaight, Georgie Henschel and Michal Hambourg . Interest was shown in East Anglia where a scheme was launched by the Arts Council in collaboration with the Trustees of th e Arts Theatre, Cambridge, to lay the foundations of an Eastern Symphony Orchestra by a series of concerts conducted by Dr. Reginald Jacques. Again the lack of suitable concert halls in most towns proved to be a major handicap to those responsibl e for the concert arrangements, but in every place where concerts

18 were given the collaboration of the Town Council and of it s Education Committee was invited. In most instances, practica l assistance as well as interest was forthcoming . The same cannot be said of Wales, where the Council's effort s to arouse interest in symphonic music have not yet received an y degree of practical support . The Boyd ' Neel String Orchestra toured in Australia and Ne w The Zealand for the British Council from April to August, 1947, an d Boyd Neel was received with enthusiasm . Its concerts did much to increase Orchestra the popularity of the string orchestra and its repertoire with th e musical public in both countries. The Music Panel has been of the greatest possible assistanc e The through its deliberations and advice to the Council during the Music Panel year. On one controversial issue it made a clear recommendatio n which was accepted without limitation. It was to the effect that Foreign the Council should not oppose the engagement of foreig n Musicians musicians in this country, and that in appropriate special case s of unusual interest, where the normal channels of concert promo- tion could not be used, it should itself help to arrange oppor- tunities for them to appear. This unanimous resolution was accepted by the Council . In 1946 the Panel had recommended the Council to take th e initiative in convening representatives of orchestras who, a s employers of orchestral musicians, should consider the establish- ment of an Association to advise and consult on matters o f mutual interest in this field. The first steps towards the founda- tion of this body were taken by the Council, which invited certain chosen representatives to meet . These representatives later obtained the formal support of their organisations and, in March, 1948, passed a resolution in favour of setting up the Associatio n as a self-constituted, independent body.

V. OPERA AND BALLET The formation of a new Panel for Opera and Ballet has been The Opera and recorded in the Introduction to this Report . The Panel met once Ballet Pane l only during the year 1947/48, shortly after its inception, and it i s too early to give any account of its work . The companies associated with the Arts Council (see Appendix 19

E) all made interesting and encouraging progress. For opera there was a marked increase in attendance, and at Covent Garden the average weekly takings rose by 40 per cent. over those of the previous year. The following detailed figures may be of interest. At Covent Garden, during a sample period of th e winter season of 1947/48, the gallery seats at 2s . 6d. each were filled to an average capacity of 85 per cent . The seats priced fro m 5s. to 9s. were filled to a capacity of 95 per cent. and those at l Is. were filled to an 80 per cent . capacity. For the more highly priced seats there was a distinct drop and the comparative figure s are significant. There is a corresponding record for Sadler' s Wells, where the highest priced seats are 9s. Here for the season the average attendance was 25 per cent. higher all round than it had been the previous year. Covent Gar&n Covent Garden added to last season's repertoire six new pro- ductions in English, namely, Der Rosenkavalier, Turandot, R Trovatore, Rigoletto, Peter Grimes and The Mastersingers. The singing of Madame Kirsten Flagstad in two special production s of Tristan and Isolde (in German) and The Valkyries (in English) was one of the most memorable events of the post-war years . The Trust also introduced other guest artists of international standing to the British public, and by so doing both strengthened the Company and gave fresh inspiration to British singers . S"er's Wells The Sadler's Wells Ballet Company at Covent Garden adde d Ballet to its repertory two new productions, Scines de Ballet and Mam'zelle Angot, and revived Checkmate, which had not been seen in London since the beginning of the war . This was the pro- duction which was abandoned in Holland when the Compan y was forced to return to England after playing there in April, 1940. The costumes and settings are by McKnight Kauffer ; the music by Arthur Bliss. In addition, Leonide Massine, whose performances were an exciting experience, appeared as a guest artist in revivals of The Three-Cornered Hat and Boutique Fantasque, for which he had devised the choreography in the original productions presente d by Serge Diaghileff in 1919. Guest companies performing at the Opera House during th e year in the absence of the Opera and Ballet Companies on tour - 20 the former in the English provinces and the latter abroad and i n Edinburgh-were the Vienna State Opera Company, the English Opera Group and Colonel de Basil's Original Ballets Russes fro m America. The Sadler's Wells Opera and Theatre Ballet Companies Sadler's wells presented a season of great interest and vitality, besides under - taking tours in the English provinces . New productions were : Faust, Die Fledermaus, Il Trovatore, Il Tabarro and a new one-act opera, Lady Rohesia, by Anthony Hopkins. In ballet the follow- ing new productions were added : Valses Nobles et Sentimentales , Parures and Tritsch-Tratsch ; and Les Rendezvous was revived. The New English Opera Group added to its reputation by the New English production of a new comic opera by Benjamin Britten, Albert Opera Group Herring. This was presented for the first time at the Glynde- bourne Opera House in June, 1947, and later at Covent Garden . The Company also paid visits to Holland and Switzerland, th e latter under the auspices of the British Council . The Ballet Rambert spent the major part of the year in 1WIet Aamberl Australia and New Zealand . Enthusiasm for the company's wor k surpassed expectations and the original tour has been extended to include return visits to numerous centres in Australia .

21

THE ARTS COUNCI L APPENDIX A INCOME AND EXPENDITURE ACCOUN T EXPENDITUR E 1946/47 MUSIC, OPERA AND BALLET GRANTS AND GUARANTEES £55,000 Covent Garden £98,000 0 0 15,000 Sadler's Wells Foundation 23,000 0 0 3,000 Glvndebourne Productions, Ltd. - English Opera Group, Ltd . 3,000 0 0 25,878 Symphony Orchestra s 12,453 10 2 8,690 Chamber and String Orchestra s 2,212 14 0 3,667 String Quartets 4,600 0 0 9,634 Miscellaneous Grants and Guarantees 19,266 16 5 £162,533 0 7 DIRECTLY PROVIDED CONCERTS 21,012 Genera l 19,886 5 8 12,300 Industrial Music Clubs 11,020 18 1 2,222 Hostels and Factories 30,907 3 9 6,991 Ballet Rambert 1,013 2 3 550 Performing Right Society 506 5 0 4,470 Music Department Salaries 4,583 4 7 13,164 Regional Organisation (apportionment) 13,025 13 3 £212,568 9 5 DRAM A Grants and Guarantees to Associated 17,647 Companies 26,002 14 2 Trustees of Theatre Royal Bristol (redue- 2,500 tion of their debt on the building) Net Cost of Companies specially engaged 41,587 for Arts Council Tours 6,372 18 2 8,599 Net Cost of Salisbury Arts Theatre 6,684 11 1 0 16,923 Net Cost of Midland Theatre Compan y 9,164 6 8 1,461 Theatre Royal Bristol 4,388 Regional Organisation (apportionment ) 4,341 17 9 5,191 Drama Department Salaries 3,932 0 9 56,498 9 4

£279,874 Carried forward £269,066 18 9

*77te figures for 1946147 Include those for activities of the Council in Scotland for which In 1947/48 separate accounts ar e rendered (Cf. Appendix B). 22

OF GREAT BRITAI N

FOR THE YEAR ENDED 31ST MARCH, 194 8 yt INCOM E 1946/7 £350,000 GRANT-H.M. TREASURY £428,000 0 0

MUSI C Receipts from General Concerts, less 4,851 Local Expenses £8,563 11 6 690 Wigmore Concert Hall net profit 693 15 9 (a) 9,257 7 3 ART 2,007 Exhibition Pees and Admission Charges 14,592 19 0 175 Profit on Lithograph Sales 169 19 10 14,762 18 1 0 GENERAL 76 Sundry Receipts 1,037 5 1

£358,799 Carried forward £453,057 11 2

11 ,7 he figure takes no account of expenditure during the Year of £1 .771 on redecoration, rewiring, etc. and £2,565 on reteating , ed In this account under Grants, Buildings, Renovation and Equipment . 23

INCOME AND EXPENDITURE ACCOUNT-c+on Vow d

1946/7 EXPENDITUR E £279.874 Brought forward £269x066 18 9 ART GRANTS 4,333 British Institute of Adult Education £2,333 6 8 1,854 Other Grants 2,129 IS 5 £4,463 2 1 17,138 Exhibition Expenses 14,816 16 7 Exhibit ion Surpluses paid to Outside - Bodies 8,871 13 10 2,538 Lecture Fees and Expenses 2,706 3 1 4,388 Regional Organisation (apportionment) 4.341 17 9 3,880 Art Department Salaries 4,057 4 1 39,256 17 5 - GRANT TO SCOTTISH COMMITTEE 36,000 0 0

GENERAL GRANTS - Edinburgh Festival £10,000 0 0 1,489 Buildings Renovation and Equipment 7,114 11 0 228 Arts Centres and Clubs 836 8 7 - 17,950 19 7 Bridgwater Arts Centre-Maintenance 541 Charges (less Receipts) 1,012 16 5 18,963 16 0 ADMINISTRATION 10,654 Salaries and Pensions Contributions 14,233 5 1 1 Office, Travelling and Entertaining 6,359 Expenses 7,469 1 0 1,758 Rent, Rates and Maintenance Expenses 4,153 8 8 7,314 Regional Salaries (apportionment) 7,236 9 6 7,409 Regional Expenses 9,099 18 8 3,869 Printing and Publicity 4,659 4 9 2,469 Depreciation on Vans and Cars 2,563 2 9 49,414 It 3 BALANCE, being Excess of Income ove r 2,704 Expenditure for the year to date 40,355 7 9 058,799 £453,057 11 2

* See footnote to page 2 2 24

FOR THE YEAR ENDED 31ST MARCH, 194 8

1946/47 INCOM E £358,799 Brought forward U53,057 If 2

£358,799 6153,057 11 2

25

THE ARTS COUNCI L BALANCE SHEE T

~k LIABILITIE S 1946/47 GUARANTEES AND GRANTS £12,318 OUTSTANDING £10,203 0 4 9,832 SUNDRY CREDITORS 20,044 19 4 BUILDINGS RESERVE ACCOUNT 15,000 As at 31st March, 1947 £25,000 0 0 Add Transfer from Income and 10,000 Expenditure Account 30,000 0 0 55,000 0 0 25,000 PILGRIM TRUST SPECIAL FUND 9,401 As at 31st March, 1947 6,271 7 10 3,130 Less Payments during year to date 212 16 2 - 6,058 11 8 6,271 PILGRIM TRUST CHANNEL ISLE S - FUND 5,000 0 0 INCOME AND EXPENDITURE ACCOUNT 16,817 As at 31st March, 1947 470 14 6 Excess of Income over Expenditure for 2,704 the year ended 31st March, 1948 40,355 7 9 19,521 40,826 2 3 Less Reserve for Loans to Associated 9,050 Organisations 3,545 0 0 10,471 37,281 2 3 Less Transfer to Buildings Reserve 10,00 Account 30,000 0 0 7,281 2 3 471

£53,892 Carried forward £103,587 13 7

• See footnote to page 22 . 26

OF GREAT BRITAI N AS AT 31ST MARCH, 194 8

,k ASSET S 1946/7 OFFICE EQUIPMENT il,177 At Cost less Depreciation as at 31st March, 1947 £3,464 15 9 2,673 Additions during year 782 19 7 3,850 4,247 15 4 385 Less Depreciation . 424 15 6 £3,822 19 1 0 3,465 MOTOR VANS AND CARS 2,767 At Cost less Depreciation as at 31st March, 194 7 4,937 14 2 4,640 Additions less Sales during year 2,751 14 3 7,407 7,689 8 5 2,469 Less Depreciation 2,563 2 9 5,126 5 8 4,938 PIANOS 873 At Cost less Depreciation as at 31st March, 1947 1,232 3 7 496 Additions during year 881 1 0 1,369 2,113 4 7 137 Less Depreciation 211 6 5 1,901 18 2 1,232

THEATRE AND CONCERT HALL EQUIPMENT 1,409 At Cost less Depreciation as at 31st March, 1947 6,136 9 9 6,261 Additions during yea r 72 14 9 7,670 6,209 4 6 1,534 Less Depreciation 1,409 14 11 4,799 9 7 6,136

1,300 LITHOGRAPHS, at Cos t 726 16 8

- PICTURES, at Cos t (A) 651 15 0

£17,071 Carried forward £17,029 4 1 1

(A) Excludes cost of pictures purchased In earlier years from Pilgrim Trust Special Fumt-f 1,314 1Is. Od. 27

BALANCE SHEET-cond wed 1%6/47 LIABILITIE S £33,892 Brought forward £103,587 1 3

Chakman : E. H. POOLEY .

Secretary-General : M. C. GLASGOW.

£53,892 £103,587 13 7

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

29

AS AT 31ST MARCH, 1948 19-46147 ASSET S £17,071 Brought forward £17,029 4 1 1

21,050 LOANS TO ASSOCIATED ORGANISATIONS £24,595 0 0 (only recoverable out of profits) 21,050 Less Reserve 24,595 0 0

6,313 SUNDRY DEBTORS, PAYMENTS IN ADVANCE 11,667 5 10

CASH 12,000 On Deposit £36,000 0 0 18,118 On Current Account 38,100 19 0 390 In Hand 790 3 10 74,891 2 10

153,892 £103,587 13 7

a true and correct view of the transactions of the Arts Council of Great Britain and of the state of their affairs. F. N. TRIBE, Comptroller and Auditor-General. Exd+equer and Audit Department , 23rd September, 1948. 29 THE ARTS COUNCI L APPENDIX B INCOME AND EXPENDITURE ACCOUNT OF THE COUNCIL' S EXPENDITUR E MUSIC Grants and Guarantees £7,647 9 0 Directly Provided Concerts 8,027 11 7 £15,675 0 7 DRAMA Grants and Guarantees 7,442 11 8 ART Grant s 1,966 6 8 Exhibition Expenses 4,533 12 6 6,499 19 2 ADMINISTRATION Salaries and Expenses 3,437 14 3 Rent, Rates, etc. 236 1 5 Publicity and Entertainment 1,043 15 0 Telephone, Postage, Stationery, etc. 1,040 5 9 5,757 16 5 BALANC E Being excess of Income over Expenditure for the year to date 3 .894 12 10 ssy,ziu u a

BALANCE SHEET LIABILITIES GUARANTEES AND GRANTS OUTSTANDING £6,916 0 0 SUNDRY CREDITORS 5,319 16 0 INCOME AND EXPENDITURE ACCOUNT Excess of Income over Expenditure for the year ended 31st March, 1948 3,894 12 1 0

zio,i.su a to

I have examined the foregoing Account and Balance Sheet . I have obtained all the information and explanations that I have required, and I certify as the result of my audit that in my opinion this Account and Balance Sheet are properly drawn up so as to exhibi t

30

OF GREAT BRITAI N

COMMITTEE IN SCOTLAND for the year ended 31st March, 194 8 INCOM E GRANT Headquarters-Arts Council of Great Britain £36,000 0 0

MUSI C Receipts from Directly Provided Concerts less Local Expenses 2,660 8 8 ART Exhibition fees and Catalogue sales, etc . 587 17 6

GENERAL Donation and Interest 21 14 6

£39,270 0 8

AS AT 31ST MARCH, 1948 ASSET S SUNDRY DEBTORS £484 8 1 CAS H On Deposit Receipt £12,000 0 0 On Current Account 3,640 18 3 In Hand 5 2 6 15,646 0 9 Chairman of Scottish Committee : JAMES WELSH. Secretary-General : M. C. GLASGOW.

£16,130 8 1 0

a true and correct view of the transactions of the Arts Council's Committee in Scotlan d and of the state of their affairs. F. N. TRIBE , Comptroller and Auditor-General. Exchequer and Audit Department , 23rd September, 1948 . 31

THE ARTS COUNCI L APPENDIX C THEATRE ROYAL ,

THEATRE PROFIT AND LOSS ACCOUN T

TO Payments to Visiting Companies £6,113 1 1 1 „ Old Vic Expenses Production Costs, Hires, Stage Director's Expenses, etc . £4,849 4 7 Salaries, Wages of Old Vic Directors, Artistes, etc . 16,064 14 1 Sundry Expenses and Photographs 261 3 4 Accountancy Charges 209 0 0 Licences and Royalties 1,227 9 1 22,611 11 l „ Theatre Management Expenses Wages and Salaries 7,807 13 8 Rent, Rates and Insurance 896 16 0 Heating, Lighting and Water 973 8 1 Printing, Publicity, Stationery and Advertising 2,750 6 9 Repairs and Maintenance 401 3 3 Accountancy Fees 78 15 0 Interest on Trustees' Hank Overdraft 136 10 8 Sundry Expenses including Losses amounting to £50 9s. 10d. 274 13 2 Telephone and Postage 360 1 9 13,679 8 4 Less Expenses transferred to General PProfit and Lo u Account 762 4 0 ---- 12,917 4 4 „ Net Profit, carried to General Profit and Lou Account 1,807 3 10

zm.),"y i A

GENERAL PROFIT AND LOSS ACCOUNT

TO Expenses transferred from Theatre Profit and Loss Account £762 4 0 „ Net Profit, transferred to Balance Sheet 3,977 13 0

z9,i3 r 32

OF GREAT BRITAI N BRISTO L

FOR 53 WEEKS ENDED 3RD APRIL, 194 8

BY House Receipts in respect of Old Vic and Visiting Companies £35,565 13 2 „ Share of Receipts in respect of Old Vic Company on Tour 7,150 18 8 „ Old Vic share of Loss for 1946(47 Season, which ended on 12th July, 1947 (Balance) 732 9 4

£43,449 1 2

FOR 53 WEEKS ENDED 3RD APRIL, 1948 .

BY Bar Profits £2,055 13 8 „ Theatre Profits 1,807 3 1 0 Programme and Cloakroom Receipts (Net) 798 4 6 Over-provision for past Audit fees 78 15 0

£4,739 17 0

33

ARTS COUNCIL OF GREAT BRITAI N BALANCE SHEE T LIABILITIE S

PROFIT AND LOSS ACCOUNT Profit for 53 Weeks to date £3,977 13 0 Less Amount appropriated to Cost of Alterations, etc. in accordance with terms of Lease £1,844 2 4 Transfer to Special Reserve Account 2,133 10 8 3,977 13 0 SPECIAL RESERVE ACCOUN T Amounts transferred from Profit and Loss Account to be appropriated in accordance with the terms of Lease Balance at 29th March, 1947 740 17 6 Transferred from Profit and Loss Account (above) 2,133 10 8 £2,874 8 2

SUNDRY CREDITORS 3,635 6 1 1

£6,509 15 1

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

34

THEATRE ROYAL, BRISTO L AS AT 3RD APRIL, 1948 ASSETS .

COST OF ALTERATIONS, RENOVATIONS AN D IMPROVEMENTS TO BUILDINGS, FIXTURE S AND FITTINGS Expenditure during year £1,844 2 4 Less Amount appropriated from Profit and Loss Account in accordance with Terms of Lease. 1,844 2 4

BAR STOCKS as certified by Resident Manager £884 16 1

CASH AT BANK AND IN HAND 5,624 19 0

Chairman : E. H. POOLEY .

Secretary-General : M. C. GLASGOW.

£6,509 15 1

exhibit a true and correct view of the transactions of the Arts Council of Great Britain , Theatre Royal, Bristol, and of the state of the Theatre's affairs . F. N. TRIBE, Comptroller and Auditor-General. Exchequer and Audit Department, 23rd September. 19Q . 35

APPENDIX D (1) STANDARD MUSIC AGREEMEN T Only properly constituted companies not conducted or established for profit, an d bodies functioning under charitable trusts are eligible for association with th e Council. Financial arrangements of varying kind and degree may be made wit h each company to assist its work ; and for each the Council is prepared to act as sponsor with Government Departments and public bodies, testifying to the value of the work done in the interest of the nation. These -arrangements are subject to individual negotiation. They represent on the one hand the Council's obligations t o its associated companies. On the other hand, the companies undertake certain obligations to the Council, as set out in the following agreement, and they are asked to subscribe to these in entering into association with the Council. AN AGREEMENT made this day of 19 between the Arts Council of Great Britain of 4 St . James's Square, London, S .W. 1 (hereinafter called " the Council ") of the one part an d (hereinafter called " the Company ") of the other part. The conditions contained in the Schedule hereto are a part hereof as though set forth on this page . WHEREAS the Company has applied for association with the Council an d the Council has decided to grant such associatio n rr IS HEREBY AGREED AS FOLLOWS : 1. The period of association sh 11 begin on the day of 19 and shall continue until the end of the financial year, March 31st, 19 , or until the termination of this Agreement by either of the parties as hereinafter provided or b y mutual consent whichever period is the shorter . 2. During the period of association the Council will give such advice and assistance as i t may deem desirable and practicable . Association shall not be deemed to imply any financial assistance in any particular rase. 3. The Company hereby warrants that it is a properly constituted company or charitable trust accepted by H.M. Board of Customs and Excise as not conducted or establishe d for profit and has been exempted by them from liability to pay Entertainment Duty . 4. The Music Director for the time being of the Arts Council or his representative shal l be entitled to attend all meetings of the Managing Body of the Company as an assessor appointed by the Council and shall receive due notice of all such meetings togethe r with all minutes reports accounts and balance sheets and the fullest possible advanc e information relative to the activities or proposed activities of the Company . 5. The Company shall cause the words " in association with the Arts Council of Great Britain " to appear immediately after the name of the Company in all publicit y matter issued by the Company during the period of association but not on letter headings or contracts, and on the termination of association from any cause what- soever the aforementioned words shall forthwith be removed or obliterated . Such words may not be used in any way that implies a contractual obligation . 6. The general policy of the Company on which it is taken into association shall b e subject to approval by the Council and any intended departure from that policy shall be submitted to the Council for approval in advance. 36

7. In the event of the Company being wound up during the period of association no monies or material assets remaining to the credit or in possession of the Compan y after the settlement in full of all legitimate liabilities shall be expended or transferre d without the consent of the Council given in writing, which consent shall not b e unreasonably withheld . 8. In the event of association ceasing from any other cause whatsoever no monies or material assets remaining to the credit or in possession of the Company at the date o f such dissociation which have accrued to the Company during the period of associa- tion shall be expended or transferred without the consent of the Council given i n writing . If however no such transfer or expenditure shall have taken place withi n six months after the date of dissociation then all the aforesaid monies or material assets shall if requested by the Council be transferred forthwith to the sole possessio n of the Council to be used as the Council in its sole discretion shall decide . In the event of a dispute about the use of the monies or assets the question shall be decided at a joint meeting of representatives of the Company and the Council unde r an independent Chairman . These clauses 7 and 8 shall not apply in the case of a company operating under a charitable trust in so far as either clause of any of its provisions may conflict wit h the terms of such trust . 9. The terms and conditions of employment shall not be less favourable than those agreed by the appropriate Trade Unions for their members. 10. The Company shall ensure that no rights in any composition opera ballet or pro- duction shall remain undisclosed to the Company and to the Arts Council. 11. The Company shall not give performances for charitable purposes without the consen t in writing of the Council, which consent shall not be unreasonably withheld. 12. The Company shall not accept any engagement abroad, whether under private or official sponsorship without informing the Council at the earliest opportunity, and obtaining the Council's permission to accept such engagement. If such permissio n is granted the Company shall be advertised while abroad as " in association with th e Arts Council of Great Britain," in accordance with Clause 5 hereof . 13. This Agreement may be terminated by either party giving two months' notice i n writing at any time and on the termination of this Agreement the association shal l cease forthwith, provided that if such notice is given by the Company it shall onl y be entitled to receive or retain a proportion of any money granted or guaranteed by the Council, such proportion to be based on the period of actual association i n relation to the period for which such association was originally anticipated unde r this Agreement if such notice had not been given . The use or disposal, after associa- tion ceases, of any monies or material assets shall be governed by and subject to th e provisions of Clauses 7 and 8 hereof. 14. In the event of a breach of this Agreement by either party it may be terminated b y immediate notice in writing in which event association shall cease forthwith . In this event the Company shall only be entitled to receive or retain a proportion o f any money granted or guaranteed by the Council, such proportion to be based o n the peri .,d of actual association in relation to the period for which such associatio n was originally anticipated under this Agreement if such notice had not been given . The use or disposal, after association ceases, of any monies or material assets shal l be governed by and subject to the provisions of Clauses 7 and 8 hereof . 15. If the Company shall become in the opinion of the Council financially unable t o carry out its obligations the Council shall be entitled to discontinue associatio n forthwith . AS WITNESS the hands of the parties on the day and year first above written For the Arts Council of Great Britai n For the Company (Here will follow a Schedule of any sperW conditions.) 37

(2) ORCHESTRAS LIST OF ASSOCIATED ORCHESTRA S (1) SYMPHONY ORCHESTRAS No. of Concerts* 1946/7 1947/8 City of Birmingham Orchestra 242 172 Hallo Orchestra 222 208 Liverpool Philharmonic Orchestra 243 207 London Philharmonic Orchestra 244 199 N.B.-The Players in the above Orchestras are under full-time contract. (iv) CHAMBER AND STRING ORCHESTRAS No. of Concerts* 1946/7 1947/8 New London Orchestra 89 62 Boyd Neel Orchestra 74 31 Jacques String Orchestra 114 110 Riddick String Orchestra 59 45 • This Orchestra also gave 76 concerts in Australia and New Zealand under the auspices of the British Council . OTHE D WITH THE ARTS COUNCIL ONLY )R CERTAINR (i HAPSTD CONCERTE~D No. of Concerts * under Arts Council guarantee 194617 1947/8 Scottish Orchestra 37 106 Merritt String Orchestra 4 3 New English Orchestra 23 36 • These figures include all public and children's concerts, but exclude studio broadcasts . N.B.-The Southern and Western Philharmonic Orchestras, being affiliated to the Nationa l Federation of Music Societies, received help through the guarantee scheme administered by that Federation (see para . 3(a) below). The Beecham Concerts Society was associate d with the Arts Council during the year in respect of the orchestral concerts it promoted .

(3) MUSIC SOCIETIES AND CLUBS (affiliated to The National Federation of Music Societies ) (a) LARGER SOCIETIES During the music season 1946/7, the Arts Council offered guarantees throug h the National Federation of Music Societies to 19 of the larger societies engaging all-professional or using predominantly professional orchestras for their concert performances . The guarantees offered amounted to £3,333 of whic h £2,670 was claimed. Artists' fees paid by the societies concerned amounted to £13,798 6s. 7d. 38

During the music season 1947/8, the number of societies benefiting under th e scheme rose to 41, with a total of 223 concerts . (b) CHAMBER MUSIC CLUBS 1942/3 1943/4 1944/5 1945/6 1946/7 1947/8 No. of Clubs 21 38 56 79 90 116 No. of Concerts 101 171 282 412 427 584 The guarantees offered for the 1946/47 music season amounted to £3,877 of, which £2,730 was claimed . The amount paid by these Clubs in artists' fee s has risen from about £800 in 1941/2 to £14,215 10s . 8d. in 1946/7 .

(4) CONCERTS (under guarantee or directly provided by the Arts Council) (a) CONCERT SOCIETIES AND CLUBS RECEIVING GUARANTEES FROM THE ARTS COUNCIL 1945/6 1946/7 1947/8 No. of Societies and Clubs 65 104f 106f No. of Concerts 333 676 678 t Including Industrial Music Clubs . 1945/6 1946/7 1947/8 (b) DIREC7ZY PROVIDED CONCERTS 1,163 875 539

39

APPENDIX E (1) THEATRE COMPANIES REVISED STANDARD DRAMA AGREEMENT WITHTHEAR?S COUNCIL OF GREAT BRITAIN The defined purpose of the Arts Council of Great Britain is to extend the knowledge and practice of the arts, to make them more accessible and to maintain the highest possible artistic standards. The Council hopes to enlist in this policy the co - operation of theatre companies which have before them the same ideals of service to the community ; which are anxious to spread the knowledge and appreciatio n of all that is best in the theatre, and thus to bring into being permanent educated audiences all over the country. Only properly constituted non-profit-sharing companies and bodies functioning under charitable trusts are eligible for association with the Council. Financial arrangements of varying kind and degree may be made with each company t o assist its work ; and for each the Council is prepared to act as sponsor wit h Government Departments and public bodies, testifying to the value of the wor k done in the interest of the nation . These arrangements are subject to individual negotiation . They represent on the one hand the Council's obligations to it s associated companies. On the other hand, the companies undertake certain general obligations to th e Council, as set out in the following agreement, and they are asked to subscribe t o these in entering into association with the Council. AN AGREEMENT made this day of 19 between the Arts Council of Great Britain of 4 St. James's Square, London, S.W.1 (hereinafter called " the Council ") of the one part an d of (hereinafter called " the Company ") of the other part. The conditions contained in the Schedule hereto are a part hereof as though set forth on this page . WHEREAS the Company has applied for association with the Council an d the Council has agreed to grant such associatio n IT IS HEREBY AGREED AS FOLLOWS : 1. The period of association shall begin on the day of 19 and shall continue until the 31st day of March 19 , or until the termination o f this Agreement by either of the parties as hereinafter provided or by mutual consen t whichever period is the shorter. 2. During the period of association the Council will give such advice and assistance as may be. required to the best of its ability and on request such financial assistanc e or guarantees as the Council may deem desirable and practicable . Association shall not be deemed to imply any financial assistance in any particular case, nor the acceptance by the Council of any financial liability whatsoever . 3. The Company hereby warrants that it is a properly constituted non-profit-sharing company or charitable trust and has been accepted by H .M. Board of Customs and Excise as not conducted or established for profit and has been exempted by them from liability to pay entertainments duty. 40 4. The Drama Director for the time being of the Arts Council or his representative shall be entitled to attend all meetings of the Managing Body of the Company as an assessor appointed by the Council and shall receive due notice of all such meeting s together with all minutes reports accounts and balance sheets and the fullest possible advance information relative to the activities or proposed activities of the Company . Weekly summaries of receipts from play productions shall be sent regularly to th e Drama Director and also to any other person who may be appointed by the Counci l to act as assessor in his place . Meetings of the Managing Body of the Company shall be held not less than once every three months. 5, The Company shall cause the words " in association with the Arts Council of Great Britain " to appear immediately after the name of the Company in all advertise- ments, programmes, press and publicity matter issued by the Company durin g the period of association but the aforesaid words shall not appear on letter headings or contracts, and on the termination of association from any cause whatsoever the aforementioned words shall forthwith be removed or obliterated . Such words ma y not be used in any way that implies a contractual obligation . 6. The general policy of the Company on which it is taken into association shall be subject to approval by the Council and any intend departure from that policy shall be submitted to the Council for approval in advance . 7. All profits made by the Company during the period of association shall (unless th e Company is operating under a charitable trust) be expended only on such object s or activities as are within the general policy referred to in Clause 6 hereof or o n such objects or activities as the Council may from time to time approve . 8(a). In the event of the Company being wound up during the period of association all monies and material assets remaining to the credit or in possession of the Company after the settlement in full of all legitimate liabilities shall be applied only to such purposes as the Council shall approve which approval shall not be unreasonably withheld or shall be transferred to the Council to be used as the Council shall decide . In the latter event any recommendation of the Company as to the disposal of fund s shall be taken into full consideration by the Council . In the event of dispute the matter shall be referred to arbitration in accordance with Clause 5 hereof . 8(b). In the event of association ceasing from any other cause whatsoever all monies an d material assets remaining to the credit or in possession of the Company at the dat e of such dissociation which have accrued to the Company during the period of asso- ciation shall be applied only to such purposes as come within the general polic y referred to in Clause 6 hereof or to such purposes as the Council shall approve, which approval shall not be unreasonably withheld . If however no proposals for the application of such monies and material assets to such purposes are submitted to the Council within six months from the date of dissociation then all such monie s and material assets shall be transferred forthwith to the Council to be used as the Council in its sole discretion shall decide . In the event of dispute the matter shall be referred to arbitration in accordance with Clause 15 hereof . This Clause 8(a)and (b) shall not apply in the case of a company operating under a charitable trust . 9. The Company shall endeavour to ensure that all artists engaged to perform in th e West End of London are contracted to tour in the Provinces for a reasonable perio d if required, as a condition of their London engagement . Such period may include a tour or try-out prior to London production . 10. The terms and conditions of employment for artists and staff shall be not les s favourable than those agreed between the appropriate Trades Unions and the recognised Managerial Associations . 11. The Company shall ensure that all available rights in the plays presented by th e Company shall be the property of the Company except in so far as such rights are normally reserved to the author and such rights shall not be disposed of either during or after association to any other person or company without the consent of the Council . 41

12. The Company shall not give performances for charitable purposes without the consent in writing of the Council which consent shall not be unreasonably withheld . 13. The Company shall not accept any engagement abroad whether under private o r official sponsorship without first informing the Council and ob gg the Council's permission to do so which permission shall not be unreasonably withheld. If such permission is granted the Company shall be advertised while abroad as " in associa- tion with the Arts Council of Great Britain," in accordance with Clause S hereof. 14(a).This Agreement may be terminated by either party giving two months notice i n writing at any time and on the termination of this Agreement . the association shall cease forthwith provided that if such notice is given by the Company it shall only b e entitled to receive or retain a proportion of any money granted or guaranteed b y the Council during the period of this Agreement such proportion to be based on the period of actual association in relation to the period for which such association was originally anticipated under this Agreement if such notice had not been given. The use or disposal, after association ceases, of any monies or material assets shall be governed by and subject to the provisions of Clause 8 hereof . 14(b).In the event of a breach of this Agreement by either party association may b e terminated by notice in writing forthwith . If this Agreement is broken by the Com- pany it shall only be entitled to receive or retain a proportion of any money grante d or guaranteed by the Council during the period of this Agreement, such proportio n to be based on the period of actual association in relation to the period for whic h such association was originally anticipated under this Agreement if notice had not been given . The use or disposal after association ceases of any monies or materia l assets shall be governed by and subject to the provisions of Clause 8 hereof. 14(c).If the Company shall become in the opinion of the Council financially unable to carry out its obligations the Council shall be entitled to discontinue association forthwith. 15. Any disputes which shall arise between the parties hereto or the ri respective repre- sentatives touching this Agreement or the construction or application thereof or o f any clause or thing herein contained in any way relating to this Agreement or the affairs dealt with therein or thereunder or the rights duties or liabilities of the partie s to this Agreement shall if the parties are unable to agree be referred to two Arbitrator s one to be appointed by each party in accordance with and subject to the provisions of the Arbitration Acts 1889-1934 or any statutory modifications thereof for the time being in force provided that this clause shall not in any way affect or restrict th e right of either party to this Agreement to apply to the Courts for relief by way o f injunction or for an order for specific performance . 16. The Council does not by these presents undertake any responsibility whatsoever to third parties for any of the Company's debts or obligations.

AS WITNESS the hands of the parties on the day and year first above written For the Arts Council of Great Britai n For the Company

(Here will follow a Schedule of any special conditions.)

42

(2) LIST OF THEATRES, COMPANIES, OPERAS , BALLETS AND PLAY S (During the period April 1st, 1947, to March 31st, 1948) A. OPERA AND BALLET (i) Theatres in Association with the Arts Council THE ROYAL OPERA HOUSE, COVENT GARDE N Covent Garden Opera Company The Magic Flute Rosenkavalie r Turandot 11 Trovatore Rigoletto Peter Grimes The Mastersingers La Traviata Tristan and Isolde The Valkyrie Sadler's Wells Ballet (Director : Ninette de Valois ) The Sleeping Beauty Hamlet The Rake's Progres s Symphonic Variations Les Sylphides Three Cornered Hat La Boutique Fantasque Giselle Miracle in the Gorbal s Mam'zelle Angot Nocturne Swan Lake Les Patineurs Adam Zero ScBnes de Balle t Dante Sonata Checkmate CoppeN a Original Ballet Russe (Colonel de Basil) Les Sylphides Paganini Protee Les Presages Carnaval Prodigal Son Le Coq d'Or Prince Igor The Goodhumoure4k- Ladie s Scheherazade Aurora's Wedding Graduation Bal l Firebird Symphonie Fantastique Beau Danube Vienna State Opera Company Don Giovanni Fidelio Cosl fan Tutte The Marriage of Figaro Salome English Opera Group (and at Glyndebourne and on tour) For Repertoire see Section (ii)

SADLER'S WELLS THEATRE

Sadler's Wells Opera Company (Directors : Norman Tucker, James Robertson, Michael Mudie ) The Snow Maiden La Bohbme Rigolett o Madame Butterfly Tosca The Marriage of Figaro Hansel and Gretel Faust The Barber of Sevill e Lady Rohesia I Pagliacci Il Tabarro Cavalleria Rusticana Die Fledermaus Coal. fan Tutte The Bartered Bride Il Trovatore I Quattro Rusteghi The Shepherds of the Delectable Mountains 43

Sadler s Wells Theatre Ballet (Director : Ninette do Valois) Ballets : Valses Nobles et Parures Casse Noisette (Act II) Sentimentales Les Sylphides The Haunted Ballroom Les Rendezvous Carnaval The Gods Go A'Begging Le Spectre de la Rose Promenade La Fite Etrang e Assembly Ball Fagade The Vagabonds Mardi Gras Khadra Bailemo s Divertissements Pas de Trois from Le Lac Adieu The Snow Maiden (Tumblers' des Cygnes (Act III) The Catch Dance) The Bartered Bride Dances Tritsch-Tratsch Ballet Rambert For Reperoire see Section (h) (ii) Companies associated with the Arts Counci l

COVENT GARDEN OPERA COMPANY Opera Repertoire (see Section (i) Royal Opera House, Covent Garden ) ENGLISH OPERA GROUP (Directors : Benjamin Britten, Eric Crozier, John Piper) Albert Herring The Rape of Lucretia BALLET RAMBERT (Director : Marie Rambert ) Swan Lake (Act II ) Les Syiphides Spectre de la Rose Jardin aux Lilas Giselle Dark Elegies Soirte Musicale Plaisance L'Apr~s midi dun Faune Concerto Burleseo Mr. Punch Simple Symphony Les Masques Confessional Peter and the Wol f Lady into Fox Czernyana Death and the Maiden The Sailor's Return Fa°ade The Fugitive Bluebird Variation Mermaid Gala Performance SADLER'S WELLS BALLET (Director : Ninette de Valois) Ballet Repertoire (see Section ji) Royal Opera House, Covent Garden ) SADLER'S WELLS OPERA COMPAN Y (Directors : Norman Tucker, Jaynes Robertson, Michael Mudie) Opera Repertoire (see Section (i) Sadices Wells Theatre) SADLER'S WELLS THEATRE BALLET (Director : Ninette de Valois) Ballet Repertoire (see Section (1) Sadler's Wells Theatre) 44

B. DRAMA (i) Theatres under the direct management of the Arts Council BRISTOL, THEATRE ROYAL Bristol Old Vic Company (Director : Hugh Hunt ) Much Ado About Nothing * Othello An Ideal Husband The Linden Tre e Aladdin Rain on the Jus t Great Expectations ' Hamlet* Tobias and the Ange l The Second Mrs. Tanquera y • And on four Visiting Companies Young Vic Envoy Productions Ltd. King Stag Vanity Fair The Crime of Margaret Foley The Company of Fou r Men Without Shadows The Respectable Prostitut e Amateur Festiva l Bristol Old Vic Schoo l Impzrial Opera Compan y Sadler's Wells Theatre Ballet Ballet Ramber t Pepita Sarazcna and her Spanish Dancers Lanchester Marionettes SALISBURY, THE ARTS THEATRE Salisbury Arts Theatre Company (Director : Barbara Burnham) The Barretts of Wimpole Candida Blithe Spiri t Street Romeo and Juliet French without Tears The Quick and the Dead The Silver Cord The Second Mrs . Tanquera y Swiss Family Robinson Tobias and the Ange l Visiting Companies Gala Week : Thea Holme, Sylvia Coleridge, Harry Isaacs, Young Women in Love Campoli (Violin Recital). Sadler's Wells Theatre Balle t (ii) Theatres in Association with the Arts Counci l CAMBRIDGE, ARTS THEATRE (Director : Norman Higgins ) Oak Leaves and Lavender A Message for Margaret Much Ado About Nothing Sadler's Wells Theatre Ballet Pygmalion Vanity Fai r Murder in the Cathedral Family Reunion Deep are the Roots Lady Windermere's Fan Dark Summer Toad of Toad Hal l Bred in the Bone Intimate Opera The Linden Tree Shoemakers' Holiday Noah Hamlet GLASGOW, THE PRINCESS'S THEATR E (Director : John Casson) Glasgow Citizens' Theatre Company Jamie the Saxt Polonaise You Never Can. Tel l Scuddievaigs Anna Christie John Kno x An Inspector Calls Wild Horses They Got What They Wanted 45

Weep for Tomorrow Jane Clegg Bunty Pulls the Strings The Family Honour Now Barabbas Tonight at 8 .30 A Midsummer Night's Dream (For touring details see Section B (iii) ) Visiting Companies Ballet Rambert New Yiddish Theatre Company The Scottish National Players The Dublin Gate Theatre Company (iii) Companies associated with the Arts Council ADELPHI GUILD THEATRE Formerly Adelphi Players (Director : J. Boyd Brent) Duke in Darkness Thunder Rock I Have Been Here Befora The Moon in the Yellow River Hedda Gabler Eden End Toad of Toad Hall It Depends What You Mean AMERSHAM REPERTORY PLAYER S (Directors : Sa11X LaZdaCaryl Jenner) exchanging productions month Guildford Repertory Compan y An Italian Straw Hat Frieda Fit for Heroes We Proudly Present Private Lives The Poltergeis t Quiet Week-end On Approval Guest in the House And So to Bed Candida As You Like It Arsenic and Old Lace Cinderella Christmas in the Market Place Fools Rush In Power without Glory Duet for Two Hands The Voice of the Turtle Message for Margaret Anonymous Lover The Three Cornered Smile ASSOCIATED ARTISTS, LTD. (Administrator : John Clements) No Productions AVON PLAYERS, LTD . From September, 1947 (Director : Daniel L. Wray) The Corn is Green Sixteen Young Mrs. Barrington This Happy Breed Frieda While the Sun Shines Cure for Love Pygmalion French Without Tears Aladdin BANKSIDE PLAYERS (Director : Robert Atkins) At the Open Air Theatre, Regents Park Lady Precious Stream Twelfth Night A Midsummer Night's Dream BRITISH THEATRE GROUP From October, 1947 (Director : Basil Dean) The Man in the Street Private Enterprise Treasure Island All This is Ended COLCHESTER REPERTORY COMPANY From October, 194 7 (Director : Robert A . Digby) This was a Woman The Man from the Ministry Tomorrow the Worl d Grand National Night See How They Run The Second Mrs . Tanquemy

46

A Man about the House The Cure for Love And No Birds Sing Madame Louise Vanity Fair The Squal l Sugar and Spice Thark Desire under the Elms Eden End Macbeth The Astonished Ostrich The Winslow Boy Dear Evelyn And So to Bed High Temperature Jane THE COMPANY OF FOU R (D irectors : Hugh Beaumont, Norman Higgins) The Rossiters The Play's the Thing Oak Leaves and Lavender * Men without Shadows The Respectable Prostitute Pygmalio n Tuppence Colouredt Dark Summert The Relapse t Little Dry Thorn Bred in the Bone Castle Anna Dandy Dic k *With Una Plays, Ltd. t With Tennent Plays, Ltd .

DUNDEE REPERTORY THEATRE (Director : A. R . Whatmore) Portrait in Black Nightmare* The Importance of Bein g The Hasty Heart Hobson's Choice Earnest * As You Like It The Marquise While the Sun Shines * The King's 40 H.P. Car Jane Steps Out A Needle in a Haystack At Mrs . Beam's Fit for Heroes* The Lady from Edinburgh * Of Mice and Men Candida* Arsenic and Old Lace Night Must Fall* The Magistrate The Taming of the Shre w Christmas Party* Claudia* Treasure Island Twelfth Night* Jonathan Present Laughter * Private Lives The Skylark Mary Rose * The Winslow Boy Pygmalion* The Patsy * The Admirable Crichton • On tour in Scotland

ENVOY PRODUCTIONS, LTD . (Director : Anthony Hawtrey) At the Embassy Theatre, Londo n My Friend, Lester Vanity Fair The Crime of Margaret Fole y King Lear* Miranda Much Ado About Nothing Spanish Incident Jane Steps Out Headlights on A .5 Deliver my Darling Point Valaine Ben Astar, one-man Othell o Said the Spider Daddy Long Legs John Bull's Other Island t The Old Lady Says Not The Vigil Where the Stars Walk t As You Desire Me The Righteous are Bold At the Playhouse, Buxton I Killed the Count No Medals Love on the Dole Acacia Avenue Candida French without Tears Ten Little Niggers The Letter The Green Bay Tree My Wife's Family Little Women The Late Christopher Bean Musical Chairs Quiet Week-end Mr. Bowling Buys a News- Michael and Mary Mrs . Moonlight paper Payment Deferred Birthmark Jane Steps Ou t Blithe Spirit Claudia Power without Glory The Poltergeist Frieda A Guest in the House The Lady from Edinburgh Private Lives Anonymous Lover Green Laughter Miranda Murder without Crim e The Silver Cord Jam Today Duet for Two Hands Fools Rush In This Happy Breed See How They Run The Sleeping Beauty 47

At the Grand Theatre, Croydon My Friend, Lester Hattie Stowe The Crime of Margaret Foley Vanity Fair Miranda Tess of the D'Urbervilka • My Wife's Family Easy Money King Lear * Lady Come Home Spanish Incident Much Ado About Nothing * The Family Upstairs Sadlees Wells Theatre Ballet The Bride Goes West Anonymous Lover No Medals Jane Steps Out A Guest in the House Payment Deferred Blithe Spirit Power without Glory Mrs. Moonlight Fools Rush In Without the Prince Claudia The Lady from Edinburgh Private Lives Frieda The Poltergeist Grand National Night The Gkam While Parents Sleep See How They Run Laura Daddy Long Legs Dear Murderer Rebem The Righteous are Bold Fit for Heroes While the Sun Shines Pink String and Sealing Wax At the Whitehall Theatre, Londox The White Stee d On Tow Vanity Fair The Vigil Said the Spider 1 Deliver my Darling *Bristol Old Vic Company t Dublin Gate Theatre Company GLASGOW CITIZENS' THEATR E (See also Section B (it) Glasgow, Princess's Theatre) On Tow : You Never Can Tell Gaslight The Righteous are Bol d While the Sun Shines Wild Horses Jamie the Saxt An Inspector Calls Mr. Bolfry GUILDFORD REPERTORY THEATRE COMPAN Y (From April. 1947) (Directors : Patrick Henderson, Roger Winton) exchanging productions with Amersham Repertory Players Days Without End Caste Dangerous Corner Good Morning, Bill Blithe Spirit Twelfth Night French Without Tears Mary Rose The Magic Cupboar d Gaslight The Sacred Flame The Wind and the Rai n The Young Mrs . Barrington Rookery Nook The Lady from Edinburgh When We Are Married The Rivals Grand National Nigh t The House is Dark Rebecca And No Birds Sing Tomorrow's Child Aladdin The Hasty Heart Ever Since Paradise Mr. Bolfry The Eagle Has Two Heads

LONDON MASK THEATR E (From July 1947) (Director : Michael MacOwan) The Linden Tree Cockpit The Hidden Years On Tour-The Linden Tree (including spedal Arts Council tour of theatreless towns) MANCHESTER INTIMATE THEATR E The Seagull Amphitryon 38 The Kirby Fortun e The Beaux' Stratagem The Circle The importance of Being A Hundred Years Old Uncle Vanya Earnest Yes is the Answer Treasure Island Power without Glory The Man with a Load of Mischief 48

NEW YIDDISH THEATRE (See Yiddish Theatre) OLD VIC, LONDON (Chairman of Directors : John Burrell) At the New Theatre, London The Alchemist' Richard II Cyrano de Bergera c The Taming of the Shrew' Saint Joan The Government Inspector • And at the Edinburgh Festival At the Piccadilly Theatre, London, and on tour Tess of the D'Urbervjlles OLD VIC, BRISTOL (Director : Hugh Hunt ) (See Section B(i) Bristol, Theatre Royal) YOUNG VIC (See Young Vic) OLDHAM REPERTORY COMPANY (From May 194 7) Wuthering Heights Aloma The Mocking Bir d Saloon Bar Anna Christie The Young Mrs . Barringto n Mud and Treacle Vanity Fair The Wishing Wel l Heaven and Charing Cross Jane Eyre And No Birds Sing The Years Between Fools Rush In The Improper Duchess The Lady from Edinburgh Arsenic and Old Lace The Enchanted Cottag e When We are Married Romance Behold We Live The Last of Mrs .Cheyney Four Days Jupiter Laughs Someone at the Door Mademoiselle The Eagle has Two Heads Love in a Mist Rookery Nook The Winslow Boy The High Road Cinderella The Rose without a Thorn Poison Pen Total Eclipse The Fourth Wal l Love in Idleness The Marquise An Inspector Calls Precious Bane Hay Fever Immortal Garde n The Petrified Forest PERTH REPERTORY COMPANY (Directors : Marjorie Dente, David Steuart) The Constant Nymph East Lynne The Man with a Load o f Lady from Edinburgh Mary Rose* Mischief Ten Little Niggers Autumn Crocus Great Expectations Charles and Mary Cradle Song She Stoops to Conquer ' Beggar on Horseback Saint Joan* Arsenic and Old Lace Fools Rush In' The Gleam* Scott of Abbotsford * Blithe Spirit* Lovers' Leap The School for Scandal * Soldier's Wife' Hamlet* And No Birds Sing* The Hasty Heart' Dick Whittington Lass of Richmond Hill The Wind and the Rain° No Medals* When Knights Were Bold * Major Barbara* Mr. Bolfry' National Velve t An Inspector Calls' Boyd's Shop' A Midsummer Night' s The Distaff Side° The Shop at Sly Corner* Dream ' • And on tour 49

PILGRIM PLAYERS (Director : E . Martin Browns) At the Mercury Theatre, London Murder in the Cathedral s.s. Glencairn I Said to Myself Happy as Larry* Kate Kennedy The Dragon and the Dove A Change for the Worse The Playboy of the Western World • And at the Criterion Theatre . London On Tour The Old Man of the Family Reunion Murder in the Cathedral Mountains SHEFFIELD REPERTORY COMPANY Music at Night Emma The Two Mrs . Carroll s Quiet Week-end The Skylark The Beaux' Stratage m Love Goes to Press Badger's Green The Mill on the Floss Quiet Wedding Frieda National Velvet And No Birds Sing No Medals The Importance of Being Of Mice and Men The Gleam Earnest Bird in Hand Julius Caesar Friends and Relations Blithe Spirit The Marquise Duet for Two Hands Power without Glory The Lady from Edinburgh , SHEREK PLAYERS LTD . (Director : Henry Sherek) The Sleeping Clergyman My Wives and I You Never Can Tell The Indifferent Shepherd SOUTHPORT REPERTORY COMPANY An Ideal Husband Jane Eyre* The Young Mrs . Barrington Goodbye, Mr. Chips Music at Night The Lady from Edinburgh We Proudly Present Madame Louise When Knights Were Bol d Shabby Tiger Captain Brassbound's This Happy Breed * The Shop at Sly Corner* Conversion Cinderella While the Sun Shines* • And on tour TENNENT PLAYS LTD . Antony and Cleopatra Othello Lady Windermere's Fan * The Eagle Has Two Candida Oak Leaves and Lavender* t $ Heads* t Macbeth* Deep are the Roots* The Play's the Thing Dark Summer$ Tuppence Coloured$ The Relapse $ • London and on tour t With Una Plays Ltd. t Company of Fou r UNA PLAYS LTD . (Managins Director : Bronson Albery) Oak Leaves and Lavender (with Tennent Plays Ltd.) UNITY THEATRE, GLASGOW Gold in his Boots Starched Aprons The Gorbals Story Men Should Weep The Lower Depths Juno and the Paycoc k 50

WEST OF ENGLAND THEATRE COMPAN Y (Drectori : Frederic Worsley) Eden End The Circle The Sacred Flame While the Sun Shines Claudia I Have Been Here Before Ten Minute Alibi Sweet Home French without Tears The Merchant of Venice Gaslight The Bells Ring Victoria Regina Dear Brutus Full House Tobias and the Angel Caste The Little Foxes Sarah Simple Thunder Rock Three one-act plays : The Lover, Villa for Sale, A Pheenix Too Frequent WINDSOR REPERTORY COMPANY (Directors : John Counsell, Mary Counsell, Arnold Pilbeam) No Medals Jane Eyre The Importance of Being The Lady from Edinburgh Dear Brutus Earnest Murder on the Nile The Gleam The Hasty Heart Message for Margaret Lovers' Leap Lord Arthur Savile's Crime And No Birds Sing The Poltergeist Fools Rush In Power without Glory Escape Fit for Heroe s The Dominant Sex Candida See How They Run You of all People Dr. Knock Laburnum Grove Cry Mercy Good.Morning, Bill Thark This Blessed Plot Little Holiday Arsenic and Old Lace Young Woodley Caste Yes and No The Return of Dr. Syn Gaslight Blithe Spiri t Is Your Honeymoon Really Aladdin Grand National Night Necessary ? Private Lives The Winslow Bo y Portrait in Black Clutterbuck Oliver Twist The Shop at Sly Comer The Merchant of Venice Bird in Hand When Knights were Bold YIDDISH THEATRE, NE W (Formerly Folk House, Adler Street, E.1, transferred December, 1947 to Alexandra Theatre, Stoke Newington) Repertoire of plays in Yiddish YOUNG VI C (Director : George Devine) King Stag* Noaht The Shoemakers' Holiday t Snow Queent • On tour t London and on tour

(iv) Seasons under the direct management of the Arts Counci l MIDLAND THEATRE COMPAN Y (Director : Anthony John Producer : Michael Langham) Tomorrow's Child Yes, Farewell Anna Christie While the Sun Shines Pink String and Sealing Wax The Good Humoured Ladies The Petrified Forest The Beggar Prince The Green Goddess Othello Bird in Hand Three one-act plays : In the Zone, How He Lied to Her Husband, The End of the Beginnin g 5 1

SALISBURY ARTS THEATRE COMPAN Y (Director : Barbara Burnham) The Barrette of Wimpole Candida Blithe Spirit Street Romeo and Juliet French without Tears The Quick and the Dead The Silver Cord The Second Mrs. Tanqueray The Swiss Family Robinson (v) Tours under the direct management of the Arts Council THE PILGRIM PLAYERS The Old Man of the Mountain s WESTERN THEATRE COMPANY ' An Inspector Calls Anna Christie Major Barbara NORTHERN THEATRE COMPANY* Arms and the Man An Inspector Calls Caste • in co-operation with the Miners ' Welfare Commission

(vi) Outside Organisations, not associated with the Arts Council, but engaged by them during the period April 1, 1947 to March 31, 1948 Intimate Opera The Hogarth Puppets The Lanchester Marionettes Lllliput Marionette Theatre Redvers Marionettes Walter Wilkinson Puppets Thea Holme, Sylvia Coleridge, Harry Isaacs-Young Women in Loye Bertha Waddell's Children's Theatre

52

APPENDIX F

(1) EXHIBITIONS HELD DURING THE PERIOD APRIL, 1947-MARCH, 1948 Paintings, Drawings, Sculpture and Works of Graphic Ar t

The Artist and the Countryside Midland Regional Designers Group Pictures from the Birmingham Art Gallery Exhibition Contemporary Paintings from the Bristo l Technique of Modern French Engravin g Art Gallery Paul Nash Memorial Exhibitio n Bristol Artists 194 8 *Needlework from Many Lands Designs for Bristol Old Vic Production s Sir William Nicholson British Painters 1939-1945 Norwich School of Painting 'Paintings by British Soldiers in Germany *Original Paintings (Contemporary) British Watercolours and Drawings The Painter's View Paintings from the Burrell Collectio n French Paintings from Mr. Peto's Collec- Selection from the Work of Sir D . Y. tion Camero n Selection from Recording Britain C.E.M.A. Collection, Oils and Water - Rowlandson Drawings-A Tour through colours Wales - Marc Chagall Selection from the Royal Academy Summe r Colchester Art Society Exhibition Exhibition, 1947 'Colour Lino-cut s Selection from the Royal Scottish Academy Contemporary Paintings Exhibition, 1946 Watercolours by John Sell Cotman Selection from the Royal Scottish Academy Lithographs by Daumier and Gavarni Exhibition, 1947 Designs for an Act Drop Selection from the Rutherston Collection English Romantic Art -Oils, Drawings and Prints Fashion Plates from 1800 to the Present Da y Selection from the Scottish Modern Art Four Contemporary British Artists Society Associatio n French Lithographs from 187 5 Scottish Scenes by Scottish Artists French Tapestry Some Pictures from a Small Welsh Tow n Drawings by Roger Fry Selection from the 1946 Society of Scottish Van Gogh Artists Exhibition Watercolours and Drawings by Harpignies Spanish Paintings English Watercolours from the Hickma n Paintings by Ben Shahn Bacon Collection Modern British Pictures from the Tate Designs for Theatre and Ballet by Leslie Gallery Hurry Contemporary Turkish Paintings Modern Hungarian Paintings Paintings and Drawings from the Indian Paintings and Drawings Wyndham Vint Collection Portrait of an Industry Welsh Landscape in British Ar t Gwen John, 1876-193 9 West Country Artists Designs for ' Hamlet' and Book Illustra- Selection of Watercolours from the tions by Andr6 Masson Whitworth Art Gallery Old Masters from Lord Methuen's Collec- English Drawings from the Collection of tion Sir Robert Witt Exhibitions of Reproductions, Photographs, Books, Design, etc. Art of Film American Silk Screen Prints Artist at Work Architecture in Scotlan d Work of the Arts Council Blake's Illustrations to the Book of Jo b American Paintings History of the British Playhouse 53 *British Textiles Development of Modern French Painting Chinese Woodcuts (3 paw) Danish Domestic Design What is Modern Painting ? •Ideas on Design in the Home National Buildings Record Art of Drawing *Paintings by Great Artists :Drawings by Dutch and Flemish Masters History of Photography •Fve Centuries of Painting *Pictures and Picture Making 'Drawings by French Masters of the 18t h Portraits Century Festivals of ' Le Roi Soled ' *Reproductions of Paintings by Grea t Reproductions of Drawings by Seurat Artists History of Shakespearean Production International Exhibition of Book Design Theatre Guild Art of Landscape Regional Building in the United States o f 'Leaf and Flower Motif in Art and Design America *What Goes to the Making of a Picture • F."Itiow Toured by the B.I.A.E . (2) PLACES WHERE EXHIBITIONS HAVE BEEN HEL D APRIL 1947-MARCH11948 ENGLAND LONDON AND Islington Branch Tonbridge Dorset GREATER Librasy Tunbridge Well s Blandford LONDON Lambeth Publi c Middlesex Bridport Library Harrow Poole London Command Uxbridg Swanage National Gallery School e Weymouth Tate Gallery Surrey Victoria & Albert London School o f Hampshire Economics Englefield Green Bournemouth Museum National Book Epsom Geffrye Museum League Godalming Eastleigh Battersea Public National Council of Guildford Lymington Library Social Servic Little Bookham Southampton Bun:oughs, Wellcome e Morden Winchester Co. Quadrant Norbury Portsmouth Canterbury Hall, St.George'sHospital, Reigate Oxfordshire Cartwrigh Knightsbridge Wimbledon Bicester s t Garden Burford Cecil House Hostel Stewarts & Lloyd s Sussex Ltd. Bexhill-on-sea Chipping Norton Eltham Little Theatre Thornwood Lodge, Brighton Henley Girls' Training Kensington Oxford College, Holland Chichester Thame Park Tudor Barn Art Eastbourne Girls' Training Corps Gallery, Woolwich Hastings Irk of Wight Centre Women's University Hove Ryde Halex Ltd. Settlement Midhurst Holbom Town Hall Worthing EASTERN Hyelm, Carleton SOUTH-EASTERN COUNTIES Road COUNTIES SOUTHERN Bedfordshire Imperial Chemica l Luton Industries, Kent COUNTIES Earlsfield Cranbrook Cambridgeshire Imperial Chemica l Crayford Berkshire Cambridge Industries, Dartford Newbury Chatteri s Wandsworth Dover Buckinghamshire Isle of Ely Institut Frwi*s Folkestone Bletchley March ' International Gillingham Chalfont St. Giles Papworth Chemical Co . Ltd. Sheerness High Wycombe Sawston 54

E Whittlesea Yeovil Leicestershire YORKSHIR Ashby-de-la-touch WEST Wisbech Wiltshire (EAST AND Leicester RIDINGS) Fssex Corsham Loughborough Chelmsford Devizes Batley Colchester Salisbury Lincolnshire Beverley Dagenham Swindon Grantham Bradford Leyton Warminster Holbeach Brighouse Leystonstone Lincoln Cleckheaton Walthamstow Scunthorpe Doncaster MIDLANDS Spalding Hertfordshire Halifax Northamptonshir e Harrogate Barnet Herefordshire Healey Boreham Wood Hereford Kettering Hitchin Nottinghamshire Heckmondwike don Shropshire Huddersfiel d Donnin on Mans n Hull LetchworthLetchworth Ludlow Mansfield Keighley St. Albans Shrewsbury Newark-on-Trent Leeds Norfolk Uttoxeter Nottingham Morley Holt Ranskill Ossett Norwich Staffordshire Stapleford Bilston West Bridgford Pontefrac t Suffolk Burton-on-Trent Worksop Rawdon Haverhill Hanley Ripon Ipswich Kingswinford Sheffield Lowestoft Leek Wakefield Rochester Wennington Shenstone York WESTERN Stafford COUNTIES Tamworth Wolverhampton NORTH-WESTER N Cornwall COUNTIES NORTHERN Bodmin Warwickshire COUNTIES Falmouth Atherstone Cheshire St. Austell Birmingham Birkenhead Durham St. Ives Coventry Chester Darlington Saltash Leamington Hoylake Essington Colliery Truro Nuneaton Hyde Gateshead Wadebridge Rugby Marple Low Fell Devon Stratford-on-Avon Wallasey Spennymoor Bideford Worcestershire Stockport Stockton-on-Tee s Dartmouth Bromsgrove Cumberland Sunderland Exmouth Dudley Carlisle West Hartlepoo l Plymouth Kidderminster Whitehaven Northumberland Tavistock Malvern Ashingto n Tomes Redditch Lancashire Bellingham Stourport Blackburn Gloucestershire Bootle Berwick-on-Twee d Bristol Worcester Blyth Cheltenham BeyDanbury Felton Cirencester Newcastle-on-Tyne NORTH AND Lancaster T emouth Gloucester EAST MIDLANDS Leigh Stonehouse Liverpool Whitley Bay Stroud Derbyshire Manchester Yorkshire-North Somerset Buxton Preston Riding Bath Chesterfield Rochdale Catterick Bridgwater Derby Salford Middlesbrough Taunton Shirebrook Southport Redcar Wells Staveley Warrington Scarborough Weston-super-maze Unstone Widnes Whitby 55 SCOTLAND

Aberdeenshire Portsoy Isk of Bute Perthshire Aberdeen Rothesay Auchterarder Peterhead Berwickshire Duns Kincardineshire Bridge ee of Earn Angus Banchory Arbroath Caithness Stonehaven Rertfrewshire Brechin Thurso Paisley Wick Kircudbrightshire Dundee Roxburghshire Forfar Castle Douglas Fast Lothian Dalbeattie Hawick Montrose Haddington Kircudbright Newcastleton Edinburgh Ayrshire Lanarkshire Selkirkshire Ayr Fifeshire Airdrie Cloverfords Girvan Cupar Carluke Galashiels Kilmarnock Kirkcaldy Selkirk Stevenston St. Andrew s Midlothian Stirlingshire Pemcuik Ban,$ahire Glasgow Stirling Banff Inverness-shire Orkney Zetland Keith Inverness Kirkwall Lerwick

WALES

Anglesey Carmarthenshire Glynneath Tredegar Wern y Wylan Ammanford Merthyr Tydfi l Carmarthen Pontypridd Merioneth Breeonshire Crosshand s Port Talbot Bala Brynmawr Llanelly St. Athan Harlech Pembre y Swansea Caernarvon Denbighshire Trealaw Pembrokeshire Bangor (Maes-yr-Haf Milford Haven Colwyn Bay Treorchy Llangollen Pembroke Cardiganshire Wrexham Tenby Aberystwyt h Monmouthshire University College Glamorgan Newport Radnor National Library Cardiff Pontypool Knighton

56

(3) PICTURE OF THE MONTH SCHEM E (a) Pictures Shown George Barrett, A Landscape, lent by the Leicester Art Gallery Frangois Clouet, Elizabeth de Valois, lent by the Bowes Museum, Barnard Castle James Collinson, At the Bazaar, lent by the Graves Art Gallery, Sheffield Peter de Wint, The Eel Trap, lent by the Nottingham Castle Museum & Art Gallery Gaudier-B zeska, Bronze Head of Brodsky, lent by Wyndham Vint, Esq . Harold Gilman, The Blue Blouse, lent by the Leeds City Art Gallery Francesco Guardi, Entrance to the Grand Canal, Venice, lent by Col. Sir Edmund Bacon, Bart. Ivon Hitchens, Pink Lilies and Poppies, lent by Mrs. John Cowen John Hoppner, Portrait of Louisa Lane, lent by Sir William Fitzherbert, Bart. Nicholas Poussin, Ordination, lent by the Duke of Rutland Rembrandt van Rijn, Portrait of an Old Man, lent by the Duke of Devonshire Peter Paul Rubens, Portrait of an Angel, lent by the Viscount Ridley Paul Sandby, View of Englefreld Green, lent by the Nottingham Castle Museum & Art Gallery Sassetta, The Miracle of the Holy Sacrament, lent by the Bowes Museum, Barnard Castle Hans Leonard Schauffelin, St. Jerome, lent by the Bowes Museum, Barnard Castle George Stubbs, John Musters of Colwick with the Rev. Philip Storer of Lockington with Huntsman and Hounds, lent by Lt. Col. J. N. Chaworth-Musters William Van de Velde, Ships Becalmed, lent by the Chatsworth Estates Ltd. Edward Wadsworth, Seaside Scene, lent by the Artis t (b) Places where Pictures have been shown North and East Lincoln Northern Counties Heckmondwike Midlands Mansfield Darlington Morley Newcastle-on-Tyne Derby Woodhouse ossett Kirkby-in-Ashfield Nottingham Yorkshire Pontefract Leicester Southwell Cleckheaton Rawdon

57 APPENDIX G

(1) ARTS CLUBS

CONDITIONS OF ASSOCIATION WITH THE ARTS COUNCIL O F GREAT BRUAIN

The purpose of the Arts Council of Great Britain is to develop a greater knowledge, understanding and practice of the fine arts and in particular to make them more accessible to the public throughout Great Britain . The Council wishes to enlist in this policy the co-operation of a limited number of arts clubs which wish to raise their standards and increase their scope, especially by means of professional concerts, visits of professional drama companies and first-class exhibitions. To achieve these aims, initiative and management must be with the arts clubs, well organised in the different localities. The Council's part is to advise, to help maintain general standards, to offer a limited measure of financial aid if necessary, and to give general support and encouragement when needed . It is hoped that in their association with the Council, arts clubs will find it possible to carry out a balanced programme of activities connected with the fine arts in their particular area. Only arts clubs with approved constitutions are eligible for association with th e Council. They are selected on the Council's knowledge of their work up to the present time and on the recommendation of the Council's appropriate Regional Director. Arts clubs are asked to subscribe to the following general conditions on entering into association with the Council :-

1. Association shall be, in the first place, for the current year, ending March 31st next . It shall be subject to renewal after that date, if both parties agree . 2. The Council's appropriate Regional Director shall sit as an assessor on the Club' s Committee of Management, and he, or his appointed representative, shall b e entitled to attend its meetings . It is important that adequate notification of all meetings should be given in advance . 3. The Club's accounts shall be submitted, on request, to the Arts Council . 4. The Council shall be kept fully informed through its appropriate Regional Director of the Society's programme at the planning stage . 5. An associated Club is entitled to use the phrase " in association with the Arts Council of Great Britain " after its own name, but it may not advertise any concert , theatrical performance or art exhibition as being in association with the Art s Council, unless such concert, theatrical performance or exhibition is separatel y sponsored by the Arts Council . 58 (2) LIST OF ARTS CLUBS AND SOCIETIES IN ASSOCIATION WITH THE ARTS COUNCIL ON MARCH 31, 1948

ENGLAND Bodmin Society of Arts St. Austell Society of Art s Boston Arts and Crafts Society St. Helens Society for Music and the Art s Camborne Society of Arts St. Ives Society for the Advancement of Chelmsford Union of Arts Societie s Music and the Arts Chesterfield Three Arts Society Salisbury and District Arts Society Dudley Arts Clu b Shirebrook and District Three Arts Society Exmouth and District Arts Society Stoke-on-Trent Arts Clu b Falmouth Three Arts Committee Tamworth Arts and Science Club Haslingden Arts Club Taunton and District Arts Council Hartlepools Arts Association Tavistock and District Society of Arts Hornchurch, Romford and Upminster Music Tees-side Guild of Arts and Art Society Truro Three Arts Society Hull Citizens' Arts League Wadebridge and District Society of Arts Lancaster Music and Arts Clu b Wells and District Society of Arts Lewisham Arts Council Weston-super-Mare Society of Arts Lichfield and District Society of Art s Whitehaven and District Music and Art s Liskeard Arts Counci l Associatio n Newquay Society of Arts Worcester Society for the Advancement o f Newton Abbot Society of Arts Music and the Art s Norwich Arts Federation Worsley Arts and Music Society Oakham and District Three Arts Society Yeovil Arts and Theatre Council Runcorn Guild of St . Michael

SCOTLAND Arbroath Art Society Kirkwall Arts Club Forfar Arts Guild Arts Association of Lewis Galashiels Arts Clu b Montrose Arts Guil d Greenock Arts Guil d St. Andrews Arts Committee

WALES Abergavenny Three Arts Clu b Mynydd Mawr Council of the Arts Milford Haven Arts Club

NOTE : The names and addresses of the secretaries can be obtained on application to the appropriate Arta . Council Regional Director.

59 APPENDIX H MUNICIPAL ENTERTAINMENTS By Miss Mary Glasgow Reprinted from " Municipal Review," April, 1948 The " Provision of Entertainments " clause in the new Local Government Act must be a matter of the greatest interest to everyone concerned with the presen - tation of the arts . It means the end of restrictions which for years have boun d local authorities so that they could have no dealings with the theatre nor d o anything involving theatrical accessories such as costumes or scenery. That is the most obvious effect of the new Act : to make it possible for theatrical enterprise to be subsidised from the rates . But there is more to it than that. The Entertainments Clause simplifies the whole complicated picture and gives t o local authorities powers to do for drama and music what they have done during a century for painting and sculpture . The old limitations were to the provision of concerts only in corporatio n buildings or parks ; to the maintenance of bands only for out-of-door perform- ances and of orchestras only by " spas and public resorts " ; and to entertain- ments which involve no costumes or scenery, no performances " in the nature of a variety entertainment " ; and no films " other than those illustrative of ques- tions relating to health or disease." All these disappear and instead, quite simply, " a local authority may do, or arrange for the doing of, or contribute towards the expenses of the doing of, anything necessary or expedient for any of the following purposes, that is to say- (a) the provision of an entertainment of any nature or of facilities for dancing ; (b) the provision of a theatre, concert hall, dance hall or other premise s suitable for the giving of entertainments or the holding of dances ; (c) the maintenance of a band or orchestra ; (d) any purpose incidental to the matters aforesaid, including the pro - vision, in connection with the giving of any entertainment or the holdin g of any dance, of refreshments or programmes and the advertising of an y entertainment or dance." The authority may also spend up to the product of a sixpenny rate in doin g these things . Nobody quite knows yet how quickly local authorities will wish to act or how far they will expect to go. If each one were immediately to claim its right to run an orchestra, the supply of orchestral players in the country would soon give out, and the standard of playing would fall . If each set out to provide pro- grammes of plays with actors engaged for the purpose, there would be an od d 60 variety of theatrical fare presented up and down the country and, to say th e least of it, occasion for sharp argument about the nature of the drama and wha t constitutes a stage play. Apart from this simple question of supply and its inevitable shortage, it is n o failure of courtesy to local authorities in general to say that few of them have ye t had the experience necessary for the successful presentation of music and theatre . This is, after all, a highly specialised, professional affair . Those who study the new Act must be impressed by the wide powers which i t gives to local authorities to assist the arts in a variety of ways . " Provision " is one thing-and not an easy one . Help to others to make their own provision is another thing, and one which will repay investigation. The Act says that local authorities may " . . . arrange for the doing of or contribute towards the ex- penses of the doing of . . . " any musical or theatrical performance . It seems clear from these words that the new powers include, on the one hand , the provision by any means of accommodation of any kind ; and, on the other, subsidies of any nature to outside organisations. This is what matters, and it is here that a great opportunity lies for local organisations to profit by a new for m of public help. There must be many societies in Great Britain which, with a little backing from outside sources, could provide really good fare for their fellow citizens, both through their own endeavours as amateurs in the arts and , still more important, as the agencies for presenting professional entertainment . Very often all they need is some practical help in the matter of accommodation or, perhaps, a small financial guarantee against loss . There are the independen t professional bodies, too, repertory companies and orchestras, which could launch into a new era of confident activity if they had only a little support fro m the rates and the determination of their town councils to see them properly housed. The underlying suggestion here offered is that authorities should not feel com- pelled to embark upon any comprehensive plan at present . Still less that there should be any desire for uniformity in the manner in which different authoritie s may go to work. It is rather that each should study the needs of its community and be prepared to give help in particular ways where help is most needed . One town may have a flourishing arts society capable of organising a fin e programme with visits of distinguished musicians and first-class theatre tourin g companies, yet be hampered by the absence of a properly equipped and license d theatre. Another may have an enterprising painters' club which is prevented from attracting people to its exhibitions for lack of a properly lit and decorate d gallery. A third town may be the home of an orchestra of high professional standard which cannot pay proper fees to its players and survive . Another, again, may be rich in amateur talent which cannot express itsel f because the ordinary rent charged for the use of the town hall is beyond the means of those who would perform . Here are simple ways in which almost any local authority of goodwill could help the arts if it were approached by thos e 61 who know what is wanted . It might be further attracted to this kind of support for independent organisations if it realised that they were equally eligible for support from Exchequer funds through the Arts Council of Great Britain . The Arts Council cannot subsidise a local authority direct, but it can co-operate wit h it in giving financial grants and guarantees to independent bodies. It is possible that some councils and the ratepayers they serve may find th e implications of the new Act alarming to their pockets if they- contemplate th e provision of entertainment on a large scale . They may not at once realise how much can be done in small ways to support and improve what already exists , and how much more effective this kind of incidental help may be than the initiation of any new, comprehensive scheme . These illustrations of what may be done are, therefore, offered not in any sense as a compromise but in the belie f that this is where the need lies . There is a further point which is worth taking into account. Independent voluntary bodies and some individual citizens are apt to regard their tow n councils with suspicion . The converse is probably also true. It would be sad if local authorities were to give any cause for the increase of this unreasonable sense of hostility by setting up in competition to existing agencies . It would be sad, too, if the existing bodies which deal with entertainment, both from the consumers' and from the producers' ends, were not ready to seize the opportunit y offered by the new Act to approach their local authorities with suggestions fo r co-operation, not in the spirit of attackers from another world, but rather as fellow citizens. The Arts Council is already working closely, in different ways, with a number o f local authorities for the furtherance of the arts . When, as CEMA, it was a purely war-time body, it worked out a number of programmes in parks and town halls for " holidays at home ." Since then, several more permanent ventures have been started, of which perhaps the most spectacular is the Edinburgh Festival. The considerable funds for this Festival were supplied in 1947 i n equal parts by the Edinburgh corporation (which already had its own specia l powers to spend money in this way), by the Arts Council and by private citizens . Another very satisfactory example is the Netherton arts centre at Dudle y (Worts) where, again, a triangular method of supports is used by the boroug h council, the Arts Council and the Dudley Arts Club, a federation of local societies. Now that all local authorities have powers comparable with Edinburgh and Dudley, the experience of these two may well be studied with interest . The Arts Council has wide knowledge over the whole of this field and alread y many other plans in the making. It welcomes the co-operation of local authorities and is only too ready to make the advice of its experts available to anyone who seeks to explore new territory.

62 ILLUSTRATIONS orroarrE : Van Gogh . The Bamuse (Madame Roulin) . Lent by the Kroller-Muller Museum

Nash Memorial Exhibi- Landaai n(the Afcgalithr

A-T A

Chagall . Portrait of a Rabbi . Lent by the Art Institute of Chicago

English Romantic Art, 178S - 184S . Gordale Scar, by Janus Ward . Lent by the City 4 rlr_ !r r .. Bradford Art Gallery

French Paintings from Mr. Pew's Collection . Head of a Aq, by Crranno

ttrr : [1ui•ueuutyiJrthrTat r (ialler c

M I OM , t F FT : .1rr11 1 tir it Bl : f - mon, 1-t-ni he the Kriiller - %1,Mvt Milseu m

a I - Ak . n iGtat : Garden and i orladr, . Lrnt he V . W . ca n (in1!h ~ - ~- I ) jOhn . 1$76-1919• Se!f-Pprtrait

Some H60%h DraNvIn iz, , " Robert ill . the Pen, ti. "a o"

A Your Through Wales- raµ jjgs h5 Thoma , N%mouth Arts Centre : L .x- rrri0r . bow Strre t

the Ililh Orchestra placin g in a .prcial tnncrri hr th e r ;nhrrs .4 thr Srmrth-Wra I } r 4lmsic Cln6 in th e l "r mb3s Ilall, WaltharnsGnv

.'\ ,lherimt Arts C' rutr e

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C+,vt-ii, r ;artlrn Opera Company. Hans IhAter as Wnta n t > I . . Kirste n in The i at ,_, rw,

Cnvenr Girden Opera Company . lhrris Dnrcc, Vitvtria l ' ~n .•ur l ; .rr+itad in The Slasrrrriitgers

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Covent Garden : Designs for Turando[ be Leslie I i}err . . +r ; N t : Prim- l urisvkh-r . BELOW, r r r r : CaEaf. BELAA , Rrerrc : Liv .

Cmt~nt Gas-Jen : DesignsforChefkmaicbtF .McKttighi Kaulfer . AWAF : Dr.,p-Curtain Pridogliv . H I I ow, I EFLI : I HLL.OW, RIGHT : Deat h

'=-f -1 -, -! A t The Fnglish Opera Group : Albert Herring b} Benjamin Britten

The Sadler's Wells Opera Company : Cori Fan Turte with scenery anti costumes by Kenneth Gree n

(Angus McReaa) The. Sadler's Wells Theatre lialler at sadlcr's Wrllti : 1a&w, Noblcs a Sentimentule3 with chureugraphc by Frederick Ashton and krnery and coaturnes b1' Sophie Folnroyitc h

The Ballei Rambcri : Sally Gilmour at Tulip in lhr Sailor' ., Return with churengraphy, scenery and costume s by, Andrie 14,,%vard (Baron) SOME PERSO N EDINBURG H

, P , I ,, ,1'I1LS AT TH E STIVAL 1947

il I The Old Vic Company : Patricia Rurkr and 'I revor Iloward in John Burrell's production of The Taming af'ncc Shreir

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I.td, : HOcn Martin and Gordon Meath in Deep are the Rows by J.1171r, Gnw and irnauJ ,i ~41•~~ .~ ., Thr Old \ ' ic Company : Ilarrv Andrrws, Ale( Guinness and Michael kaghan in fe)hn lien'rcli ' N pr . " lurtion c d The (imw ernmenr Inspector h4 Gogo l

The London M .esk Thraur : hewis Casson and Tile Page in Mirhacl MacOwan's PruduCIion of The Linden Trer bN J . R. Priestley

,, Ltd, : Brenda Bruce, Frcderiek I've] . Francis Lister and Rosamund john in Peter Ashmnrec ' s d-u,m A ]au .4'erer Can lei/ br G, H . tihaw

I- lie Company of Four : The Intimate Revue 7uFFencc Coloured . Max Adrian in &, rAeen the l inc, dcsigncd I n f-ntmett

the Bristol Old Vic Company : ABOVE , i EFT : Hugh Hunt's production of The Apple (orchard by Leonid Leonuy with decor b y Alan Barl„w, eeiow, LEFT : Hugh L{unt 's producti-m of An Ideal Husband by Osca r Wildr with decor by Anthony I lolland

AROCE, RIGHT : The Salisbury Arts Theatr e Company : George Cornwck's production of Tobta, and the Angel by Jaynes Bridle with Jecor b% Henry Grayene r

uELOw, Rtctir : The Midland Theatre Company : Michael L.angham's production of The Good Humoured ladies by Michael Burn

The Art, l mn, rl Fours in u .-nperalirm Leith Thu Mini r . ' Wclfarr Cununiwsion . AnML : The• VJr>t rrn 1 h dtr nrltl)a,t e Peter C,,tr, ' , pr(Attion 4 In in,(vitor Cails he J . R . Priestley with deo,r by Tht-a Neu . tLurie The \ .rlh-Fastern Tour : Andre an Gtseghent ' s l,rrnhu Lion o[ Robert+on ' , (rote Leith detor he Riette Shtrge 'Moore

H E A D Q U A R T E R S S T A F F

Secretary-Genera! : Miss M . C. Glasgo w Assistant Secretaries : Mr. Eric W . White, Mr. M. J McRooeri Music Director i Drama Director, Art Director . Mr. John Denison Mr. Llewellyn Rees Mr. Philip Jame s Assisrant Music Directors ; Associate Drama Director : Assistant An Director : Miss Mona Tatham Mr, Charles Landstone Mr. Gabriel Wh't c Mr. lun MacPhail Accounting Of icer : Mr. E. L. Horn Treasurer : Miss H. Kranz 4 St. James's Square, London, S .W.] (Whitehall 9737)

R E G I O N A L D I R E C T O R S LONDO N (No Officer. All communications to Arts Council Headquarters . ) GREATER LONDON, KENT, MIDDLESEX, SURREY, SUSSEX Mrs. Anne Carlisle, 4 St . James's Square, London, S.W.I. Whitehall 9737 ) BERKSHIRE, BUCKINGHAMSHIRE, DORSET, HAMPSHIRE, ISLE OF WIGHT, OXFORDSHIR E Miss Helen Munro, 4 St . James's Square, London, S .W.] (Whitehall 9737 ) BEDFORDSHIRE, CAMBRIDGESHIRE, ESSEX, HERTFORDSHIRE, HUNTINGDONSHIRE., ISLE OF EL Y NORFOLK,SUFFOL K Mr W R Fell, 2 Ali Saints' Passage, Cambridge (Cambridge 3165 ) CORNWALL, DEVON, GLOUCESTERSHIRE, SOMERSET, WILTSHIR E Mr Cyril Wood. 6 King Street, Bristol, 1 (Bristol 2666112) HEREFORDSHIRE, SHROPSHIRE, STAFFORDSHIRE, WARWICKSHIRE . WORCESTERSHIRE Mr Tom Harrison, 7a Newhall Street, Birmingham . (Central 2591/2) DLRBYSHIRE, LFICESTERSHIRE, LINCOLNSHIRE . NORTHAMPTONSHIRE, NOTTINGHAMSHIRE , RUTLAN D Mr. Frederic Lloyd, Westminster Bank Chambers, Angel Row, Nottingham . (Nottingham 42766) CHESHIRE, CUMBERLAND, LANCASHIRE, WESTMORLAN D Mr. J. L. Hodgkinson, lb Cooper Street, Manchester. (Central $021(2) YORKSHIRE (EAST AND WEST RIDINGS ) Mr. H. D. Fayers, 65169 Cabinet Chambers, Lower Basinghail Street, Leeds. (Leeds 262401 DURHAM, NORTHUMBERLAND. YORKSHIRE (NORTH RIDING ) Mr. Donald Mather, Bessy Surtees House, Sandhiil, Newcastle-upon-Tyne, 1 . (Newcastle 2(14477) SCOTLAN D Dr. George Firth, 29 Queen Street, Edinburgh . (Edinburgh 34635!6) WALES Mr. Huw Wheldon, 29 Park Place, Cardiff. (Cardiff 5475 ) North Wales Ofee : 1 Central Arcade, Hope Street, Wrexham. (Wrexham 3602 )

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