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National Performing Companies: Report on Activity 2007/08 And National Performing Companies – Report on activity 2007/08 and 2008/09 List of contents Page 1 Minister’s Introduction 2 2 Introduction to the Report 3 3 About each of the National Performing Companies 4 4 Company profiles 6 5 Facts and Figures 11 6 Financial Outturn 13 7 Audiences 17 8 Monitoring and Assessment 18 9 Shared Services 19 10 More Recent Developments 20 Annex A 21 Annex B 23 Annex C 25 1 1. Introduction by Fiona Hyslop MSP, Minister for Culture and External Affairs It gives me great pleasure to present this report on the first 2 years of the Scottish Government’s direct funding relationship with Scotland’s 5 National Performing Companies. It is hard to think of Scotland’s rich performing arts history and achievements without reference to each one of these 5 companies: the venerable RSNO, now over 100 years old; the youthful National Theatre of Scotland, remarkably only in its fourth year of operation; and the richness of Scottish Ballet, Scottish Chamber Orchestra and Scottish Opera, now in their ‘middle years’ – are all playing a major part in bringing joy and inspiration to audiences across our nation. As well as producing concerts and performances of the highest calibre, these companies are all committed to using their skills as artists, teachers and role- models in schools and communities to stimulate increased confidence, self-esteem and creativity in people of all ages, abilities and backgrounds. The 5 companies are also excellent ambassadors for Scottish culture, proudly promoting Scotland overseas and introducing international audiences to the wealth of artistic talent that is nurtured and developed in our vibrant country. I am delighted to see the 5 National Performing Companies in such good financial and artistic health. This document is intended to share the essential facts and figures about their achievements publicly and to ensure that we conduct our relationship with these companies with appropriate transparency. It is my intention to publish a document annually which reports on the achievements and outcomes of the 5 National Performing Companies. 2 National Performing Companies – Report on activity 2007/08 and 2008/09 2. Introduction: 2.1 Scotland’s 5 National Performing Companies came into a direct funding relationship with the Scottish Government in April 2007, having previously been clients of the Scottish Arts Council. The decision to change the mechanism for funding the companies was taken during 2006 and work was started to implement this change at the Scottish Government in January 2007. 2.2 This report is intended to highlight the key achievements and operating outcomes of all 5 companies during the period 2007/08 and 2008/09. There are 5 National Performing Companies: o National Theatre of Scotland (NTS) o Royal Scottish National Orchestra (RSNO) o Scottish Ballet o Scottish Chamber Orchestra (SCO) o Scottish Opera 2.3 Collectively and individually these companies make a significant contribution to cultural life in Scotland. They operate on a scale which distinguishes them from any other performing arts organisations in Scotland and which gives them a major presence on Scotland’s largest stages. They are also dedicated to working flexibly and on a variety of scales to deliver their performance and education programmes to as many of Scotland’s communities as possible, across the length and breadth of the country. 2.4 Between 2007/08 and 2008/09 the National Performing companies gave 1,939 performances and delivered 5,425 education events. Over 1 million people saw the companies perform during this period and there were 202,370 participations in their outreach and education programmes. 2.5 In partnership with the many and diverse performing arts organisations operating in Scotland, some of which are funded by the Scottish Arts Council, the National Performing Companies help to deliver the Scottish Government’s policy commitment to ‘support the arts, culture and creativity; and to maximise access to, appreciation of and participation in, the arts, culture and creativity’.1 2.6 The relationship between the Scottish Government and the 5 national performing companies is managed by the Cultural Excellence Team within Culture Division. The creation of a productive, informed, open and mutually respectful relationship between the 2 parties was aided, in part, by the inclusion in the initial sponsorship team of 2 secondees from outwith the Scottish Government – a financial expert and one with extensive performing arts experience. 2.7 Whilst no longer in a direct funding relationship with the Scottish Arts Council, the 5 National Performing Companies are required to retain good relations with this major arts funding body to ensure that a cohesive and strategic approach to funding across the sector can be achieved. The National Performing Companies will need to establish a good, complementary relationship with Creative Scotland when it emerges in 2010. 1 Scottish Parliament Public Service Reform (Scotland) Bill – section 26 and 27. www.scottish.parliament.uk/s3/bills/26-PubSerRef/index.htm 3 3. About each of the National Performing Companies 3.1 Each of Scotland’s 5 National Performing Companies arrived with the Scottish Government in fine artistic form in April 2007 and went from strength to strength during 2007/08 and 2008/09. 3.2 Any financial or artistic difficulties from previous years were put firmly behind them, and a new era of confidence, optimism and generosity has developed which enables each company to produce the highest quality of work for audiences across Scotland and further afield. 3.3 Whilst the companies are now part of a collective group, each of the National Performing Companies operates on a different business model with a distinctive set of aims and objectives. Each is at a different stage in its history and works in different ways with different numbers of creative and performing artists, and support staff, to deliver a wide range of performances and education work on a variety of scales. 3.4 They all operate the same constitutional structure, being independent private companies limited by guarantee and registered as charities in Scotland. They are all governed by a Board of voluntary, non-executive Directors, which may include some designated local authority Councillors. The Scottish Government plays no part in the recruitment of any Board or Senior staff appointments for any of the National Performing Companies. The Scottish Government receives Board papers but does not attend Board meetings. 3.5 Taken together, the companies’ performance activity spans a diversity of classical and contemporary music, opera, dance and theatre and takes place in the concert halls and theatre venues of Scotland’s largest cities and smallest villages, as well as in venues across the UK and overseas. 3.6 All of the companies place the role of education, learning and community involvement at the heart of their artistic purpose. They each deliver a programme of workshops, masterclasses, performances and courses both within the formal Education sector and in a wider community Outreach context. This work is tailored to the particular artform and policy of each company, but shares the same broad aim to inform, involve and inspire people of all ages and abilities in and about the performing arts. 3.7 Whilst they all recognise the value of the individual experience of the audience or participant in relation to their work, they all share a desire to communicate with as large and diverse an audience as possible. 3.8 Notable achievements during the 2007/08 and 2008/09 period include: 3.8.1 The National Theatre of Scotland achieving international success with Black Watch by Gregory Burke, originally produced in 2006. During 2007 and 2008, the production undertook 2 successful runs in New York and received audience and critical acclaim from performances throughout Scotland, in Los Angeles, Toronto, Virginia, Sydney, London and across the UK. The production won many awards during this period, including 4 Olivier Awards and the New York Drama Critics' Circle Awards for Best Foreign Play. The company’s production of The Bacchae saw the return of Alan Cumming to the Scottish stage after a break of 17 years. 3.8.2 The Royal Scottish National Orchestra undertaking its first foreign tour with Music Director Stéphane Denève in January 2008. The Orchestra performed 6 concerts to great acclaim across Germany, Austria and Croatia with American violinist Hilary Hahn. The company has since returned to the continent with Denève on a highly prestigious tour in February 2010. 4 3.8.3 In recognition of its impressive track-record for commissioning and programming, Scottish Ballet winning the Company Prize for Outstanding Repertoire (Classical) at the Critics’ Circle National Dance Awards in January 2008, the Oscars of the UK dance world. 3.8.4 The Scottish Chamber Orchestra appointing the young conductor Robin Ticciati as its new Principal Conductor, following a highly successful series of concerts given by Ticciati with the orchestra in the Scottish Highlands and Islands in summer 2008. Ticciati is a rising star of British music-making who is much in demand across the world. 3.8.5 Scottish Opera appointing its new Music Director, Francesco Corti following his success conducting Puccini’s Madama Butterfly for the company in spring 2007. The company’s production of Donizetti’s Lucia di Lammermoor, directed by Scottish director John Doyle, and was selected by Valery Gergiev to be presented by the Mariinsky Opera in St Petersburg as one of its key productions for 2009. 5 4. Company profiles: 4.1 The National Theatre of Scotland (NTS) aims ‘to create work that excites, entertains and challenges audiences at home and beyond and which makes Scotland proud.’ 2 The company started producing theatre in 2006 and performed to over 319,000 people during 2007/08 and 2008/09.
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