COUNCI L

'Sir Kenneth Clark, K .C .B., D .Litt., LL.D., F.B.A . (Chairman) •Wyn Griffith, O.B.E., D.Litt. (Vice-Chairman) T . E. Bean, C.B.E. •Professor Gwyn Jones Ernest Boden Robert Kemp *Sir William Coldstream, C.B.E. •Berm W. Levy, M.B.E. *Joseph Compton, C .B.E. *Professor Anthony Lewi s Lt: Col . Vere E . Cotton, C.B.E., T.D., J .P . 'Sir John McEwen, Bart., LL.D . Mrs. Hugh Dalton Miss C . V. Wedgwood, C .B.E. Sir Emrys Evans, LL .D. Hugh Willatt 'Member of Executive Committee

SCOTTISH COMMITTEE

Sir John McEwen, Bart., LL.D . (Chairman) D. K. Baxandall E. S. Harrison The Hon. Mrs . Michael Lyle Ernest Boden J. A. Henderson William MacTaggart, R .S.A . Charles Carter, F.M.A ., F.S.A. Robert Kemp Hugh Marshal l Colin Chandler Mrs . Eric Linklater John M. Playfair Charles Graves Miss Violet C . Young

WELSH COMMITTEE

Professor Gwyn Jones (Chairman) The Marquess of Anglesey Robert E. Presswoo d S. Kenneth Davies, C.B.S . Miss Frances Rees, O.B.E. Sir Emrys Evans, LL .D. Ceri Richards David Dilwyn John, T.D ., D .Sc ., F.M .A. Dr . William Thomas, C.B. Dr. Daniel Jones Mun Llylwelyn Williams J. Henry Jones, Ph .D. D. E. Parry Williams, D .Mus. Thomas Parry, D .Litt. STAF F

HEADQUARTERS 4 St James's Square, London, S.W.1 (Whitehall9737) Secretary-General: Sir William Emrys Williams, C .B.E. Deputy-Secretary and Finance Officer : M . J. McRobert Art Director : Music Director : Drama Director : Gabriel White John Denison, M.B.E. J. L. Hodgkinson, O .B.E. Assistant Secretary: Eric W. White Accountant D. P . Lund, F.C.A.

SCOTLAND Director : Dr. George Firth, O.B.E., 11 Rothesay Terrace, Edinburgh, 3 (Edinburgh 34635/6) Deputy Director: Donald Mather WALE S

Director : Miss Myra Owen, O.B.E., 29 Park Place, Cardiff, South Wales (Cardiff 23488) Deputy Director : David Peters RQ-Ct.+ivc- CDP y

T H E A R T S COUNCIL OF G R E A T B R I T A I N

ARTS COUNCIL OF GREAT BRITAI N

RESEARC' i7 A'%`-D INIFORMATION LIBRARY.

THIRTEENTH ANNUA L REPORT 1957 -195 8

4 S T . JAMES'S SQUARE $ LONDON $ S . W, z

_j DESIGNED BY MISS G. DRUMMOND MCKERRO W AND PRINTED IN ENGLAND AT THE BAYNARD PRESS

CONTENTS

Page 1 . THE THIRD FORCE OF PATRONAGE 5

2. NOTES OF THE YEAR 14

3. ART 33

4. DRAMA 38

5. MUSIC 46

6. OPERA AND BALLET 56

7. POETRY . 60

8. SCOTLAND 62

9. WALES 74

10. NOTES ON THE ACCOUNTS 83

APPENDICES :

Appendix A The Arts Council of Great Britain : Audited Accounts 86

Appendix B The Council's Committee in Scotland : Audited Accounts 100

Appendix C The Council's Committee in Wales : Audited Accounts 106

Appendix D Arts Council Exhibitions held in Great Britain 112

Appendix E Subsidies from Local Authorities and Local Educatio n Authorities 114

Appendix F Some Selected Instances of Private and Industrial Patronage 122

A 1

THE THIRD FORCE OF PATRONAG E

Recent events at Sadler's Wells have dramatised the condition of the arts in Britain. Last spring it seemed likely that an insufficient subsid y would compel the company to abandon its permanent status and submi t to a policy of brief, intermittent seasons. This autumn its survival on it s traditional basis seems assured by timely aid from two directions . The L.C.C. has given a grant of £25,000 for the current year, and Independent Television has produced a donation to the value of £5,000 for seven year s from A.B.C. These reinforcements to the Arts Council's grant of £150,00 0 will see Sadler's Wells safe until next April ; but apart from their short- term value they embody prospects of a more continuous kind. The A.B.C. gift is to be continued for seven years and has been made in the form of a tax-free covenant . The L.C.C., moreover, is considering whether to develop its rescue operation into an annual subvention and has instituted an enquiry of its own into the opera problem in London . Apart from these grants to Sadler's Wells another TV company, the A .T.V., has announced donations, amounting to £15,000, to several repertory companies, oper a companies, the City of Birmingham Symphony Orchestra and other bodies. Finally, the I.T.A. is raising a joint levy of about £100,000 among the TV companies in support of the arts generally . The immediate effect of these actions is a matter of solid satisfaction, but their potential consequences are far more significant. Municipal subsidies for the art s are no novelty by now, but if the L .C .C. should decide on a new pattern of patronage its example might establish similar values in other large cities . Donations from big business, too, have been assisting the arts on a modes t scale in recent years, but the readiness of independent television to adopt major responsibilities in this field encourages the hope that a Third Forc e of patronage is now emerging. The Sadler's Wells crisis of last spring revealed a situation which ha s been expounded for several years in the annual reports of the Arts Council . The last report, `Art in the Red', predicted that closures and calamitie s were inevitable unless the scale of public patronage of the arts was forthwith increased . The crisis at Sadler's Wells was a major demonstra - 5 tion of the need for bigger subventions for the arts . But there is a grave r crisis in the offing. The only national theatre we possess, Covent Garden , is running at a deficit which has reached alarming proportions ; and unless a substantial increase in its resources can be found immediately th e centenary of this famous house, celebrated with impressive ceremony a few months ago, may soon be followed by its demise. It is not only these large and historic institutions which are in jeopardy . Several of the permanent symphony orchestras are living from hand to mouth; many of the repertory companies lack sufficient means to moun t and rehearse their productions adequately ; such lively centres of initiative as the Ballet Rambert and the English Opera Group are frustrated in thei r efforts to explore and experiment . The rank-and-file of actors, dancers and musicians are underpaid . (Since 1946 the cost of living has risen b y about 60 per cent : but the wages of orchestral players have risen by n o more than 37 per cent in that period.) Unless we can effectively sustai n our smaller enterprises we shall cease to possess that strength at the to p which is currently displayed by such popular and distinguished institutions as the Royal Ballet, the Royal Opera House, the Old Vic, Stratford Memorial Theatre, Sadler's Wells, Glyndebourne and the Hall6 Orchestra . The pyramid of excellence must have a broad base and deep foundations . The Arts Council's plea for an increase in the present level of public subsidy is animated by the needs of its lesser beneficiaries as well as by those of the larger claimants.

THE CASE FOR SUBSIDIES Although the scale of public subsidy for the arts is still less than i t should be, the climate of opinion on the subject is more favourable than it was a decade ago. `Let those who want it pay for it' is a less prevalen t gambit than it used to be in public discussions of these matters . Without public subsidy such arts as opera, ballet and symphony music, at their best levels of performance, would be beyond the means of the majority to enjoy in the theatre and the concert hall, for they cost more to provid e than they can reasonably expect to take at the door . In publicising the parsimony of our central and local governments to the arts in Britain it i s usual for the advocates of bigger grants to draw parallels with the far more benevolent habit of foreign countries . But those comparisons seem to make a meagre impression upon our legislators, and are indeed ofte n construed as evidence of continental indulgence in frivolities . There are more effective parallels nearer home. Of these one of the most apt is the 6 provision of public libraries at a current cost to public funds o f £16,000,000 a year. Public libraries are used by a minority, by less than a quarter of the population; and the books they supply are mainly fo r recreational reading and not for educational purposes . When this wide- spread system of public patronage was instituted, over a century ago, i t was designed in large measure to combat illiteracy, but in our time i t continues as an amenity wholly . provided at public expense . If we admit, as we do, a social necessity to spend £16,000,000 a year on our publi c libraries, how can we allow our comparable expenditure on music , drama, opera and ballet to shrink to about one-twelfth of that figure ? The notion may perhaps survive in the minds of some who have no t lately considered these matters that certain class distinctions are involved . The habitual visitor to the opera house and the concert hall is stil l imagined, perhaps, as a person of comfortable means, while the borrowe r from a public library is conceived to be a diligent but impoverishe d person improving his mind in a chilly bed-sitter . These are out-date d fantasies. The audience for the arts is larger but also poorer than it use d to be ; and the library borrower is as likely as not to be curled up with a best-seller in a comfortable room . A public library can no longer b e regarded simply and solely as an educational institution, and a concert hall, on this basis of comparison, can provide more durable satisfaction s than mere entertainment . These changes of social value have still to be recognised and applied in the provision of modern amenities . Without seeking to doubt or minimise the social benefits of the public library, and certainly without grudging a single penny of what is being spent upon it , one can nevertheless condemn the disparity of our public expenditur e upon two closely comparable kinds of need and merit. If £16,000,000 is a reasonable cost for the one, then something a good deal more than the present £1,250,000* is justified for the other . At present four kinds of patronage assist the arts . They are national, municipal, industrial and private . As recently as 20 years ago the fourth of these was the biggest benefactor ; now it is the smallest. But although wealthy private patrons are fewer and poorer than they were, the sense o f individual responsibility happily survives in those many thousands o f men and women who subscribe to numerous `supporters' clubs' o f theatres, orchestras and art galleries or to such collective bodies o f patronage as the National Art-Collections Fund and the Contemporary

• This figure combines the grants made by Local Authorities with those made by the Arts Council . 7 Art Society. It is for their expression of personal concern and responsibilit y rather than for their monetary power that private patrons are to be cherished.

INDUSTRIAL PATRON S A welcome development since the war has been the support the art s are deriving from business firms .* Sometimes these industrial patrons are , very properly, able to debit their donations to the prestige-advertising o f their wares or to their firm's welfare fund ; sometimes they are generous enough, with the concurrence of their shareholders, to make a contri- bution from taxed profits . The support of a large firm has a substantial value, moral as well as financial, for a local activity such as an orchestra, a repertory theatre or an annual festival of the arts . It is difficult to determine the exact total of industrial patronage at present, but an annua l £50,000 is a fair estimate for recent years, apart from single donation s made to such ventures as the Mermaid Theatre which Bernard Miles i s building on the banks of the Thames, or the Little Theatre built last yea r in Middlesbrough. This annual contribution from industry could b e multiplied tenfold if such subscriptions were tax-deductible in thi s country, as they are in several others, including America . Municipal grants for the arts have increased since the Local Govern- ment Act of 1948 empowered Local Authorities to apply up to the product of a 6d. rate for such purposes .t If the Act had included a minimum a s well as a maximum level for these civic subsidies the volume of suppor t for the arts would now be many times the present annual aggregate of a quarter of a million, for many cities and larger towns continue to contri- bute no more than small fractions of a penny rate to their local arts . The methods as well as the amounts of municipal subsidy are open t o criticism, for municipal aid as a rule is piecemeal patronage. The initiative is usually taken by an orchestra or a repertory theatre whic h has first to secure spokesmen for its cause among aldermen and councillors, then run the gauntlet of committees and, possibly, find that its plan fo r support has become a political issue between the rival parties. There is no regular place in the municipal budget for the fine arts, as there is fo r museums, libraries and art galleries . They have to take their chance , they have to renew their plea each year, they are not embodied in an y considered pattern of municipal provision . These defects in the applica- tion of the 1948 Act could be remedied if Local Authorities would deter - * See Appendix F. t See Appendix E . mine the total annual sum they propose to devote to the arts in their territory and then proceed to allocate it on a methodical basis . Present procedure too often makes municipal aid look like alms for the arts instea d of being a dignified and deserved form of patronage. The fourth and largest kind of public patronage is vested in the Arts Council which last year was able to distribute among approximately 12 5 beneficiaries a total of £813,000 and in the present year will raise tha t figure to £918,000. The sums voted by Parliament to the Arts Counci l have risen appreciably since 1946, when the Arts Council was created , but in that period the cost of maintaining the arts has also risen steeply , and the number of activities assisted has been considerably increased . The present level of the Arts Council's grant falls short of its actual needs , if the present pattern of provision is to be sustained, by at least a quarte r of a million ; and if the Arts Council is to assist the long-overdue buildin g of new theatres and concert halls it would need additional capital funds for those operations . On an annual Exchequer grant of the order of £3 million it could, on present price levels, redeem the arts in Britai n from their present insecurity and house them at the standard their merit s and popularity deserve. The existing forms of patronage are not contributing the level o f subsidy which the arts require for their fulfilment and development. Can their combined resources be enlarged ?

TV AND THE ART S One method of augmenting the present insufficient subsidies fo r the arts was first proposed by the Arts Council in its Annual Repor t five years ago, and renewed in its last . It is based on the contention tha t broadcasting, both in sound and vision, is a major consumer of the arts and that, although it does indeed pay fees for the use of what it puts on th e air, it makes no contribution to the basic survival of the arts, i .e. in the theatre, opera house or concert hall . If the living theatre should declin e or perish, the argument continues, broadcasting will be deprived of the actors, producers, writers on whom it so largely depends for its existence , and it has a similar interest in the survival of professional ballet, oper a and music. The case does not rest, however, on sheer self-interest . Broad- casting, the most potent instrument of diffusion, includes among its social obligations that of enlarging and nourishing public taste in the arts , and that function involves a certain responsibility on its part for assistin g those arts to survive and prosper. These considerations have now received 9 timely and disinterested acceptance by independent television, as wa s noted in the opening paragraph of this report ; and by donating £100,000 to the arts it has recognised a principle analogous to that of reafforestation . The total contribution from independent TV is indeed a munificent act o f patronage which may well stimulate other forms of big business to enlarge their support for the arts . There is now developing an effective Third Force of patronage which i s likely to be of the highest significance, and the reasons are worth consider - ing. In the first place, nothing could be more undesirable than a unilatera l system of public patronage in which a single body, such as the Arts Council, was the sole distributor of subsidies . One reason why the Arts Council has welcomed and encouraged the increasing participation of Local Authorities in this field is that, by making their own separat e subsidies, the Local Authorities share not only the monetary burden but also the responsibility of choice and decision . Yet even this fruitful partnership in patronage between central and local government has some obvious limitations . For example, there often occur in the arts oppor- tunities for experiment which involve a high degree of risk and yet deserv e to be tackled. To subsidise adventure is essential, yet to do so on public money is, beyond a narrow margin, not easy to justify. It is exactly in these circumstances that an industrial patron can accept a greater ris k than a public body is entitled to do.

DIVERSITY OF PATRONAG E Patronage, in fact, works best when it has many centres of initiative , when its government is divided among several bodies rather than consolidated in one. A plea which fails in one quarter may succeed in another ; the conservative habit of one distributing body may be offset by the adventurous outlook of a different tribunal . In its heyday the patronag e of Popes and Grand Dukes was often strongly flavoured with an elemen t of sheer caprice which sometimes brought off miracles of art . Caprice is a luxury which an Arts Council must deny itself-but not so a n independent industrial patron . Some good causes need slow and patient nourishment before results can be expected-and these can be mor e easily adopted by a private than by a public body. The private body ca n gamble on long shots; a government agency is liable to public criticism if it does so. It is in this sense that the new industrial patrons, including independent television, can constitute a Third Force of patronage . But the Third Force can do far more than adjust the balance of public benefaction . 10 There are positive tasks of large-scale patronage which await develop- ment, and which the Arts Council lacks the resources to tackle because i t has become so fully committed to other obligations . In the course of its dozen years the Arts Council's patronage has assumed some form s which are inevitably open to criticism, and under the pressures of nee d its benevolence looks lop-sided to some people. Its expenditure on opera and ballet, for example, is held by some to be excessive ; just as its inability to sustain other activities is regarded as a series of lost oppor- tunities. Whatever merit there is in such criticisms the fact remains that many obligations have been assumed which the Arts Council does no t wish to abandon. If a moratorium could be declared in the arts the present design of subsidy might indeed be radically altered. It it were possible-o r ever had been possible at a given moment-to lay down a plan of subsidy based on ideal requirements in terms of music, drama, opera and ballet th e structure of subsidy would doubtless be better balanced than it is . That ideal pattern is impossible, but what remains possible and desirable is that the Third Force should adopt the patronage of activities which the Art s Council has been unable or unwilling to assume . There are many to choose from. One is to develop among the provincial repertory theatres the Arts Council's proposals for a grid system or network of exchange which would enable the theatres to build up a collective repertory . Instead of the present necessity for each theatre to mount a new production each fortnight (or even week) in conditions which cannot encourage quality , the Grid would enable each theatre in a given region to devote its skil l to a small number of exemplary productions each year and exchange them on an organised pattern of visits . Or again, there is an urgent housing problem in the arts . The Arts Council has nearly completed a survey of what Great Britain needs to house its music and dram a adequately, and the fulfilment of these local plans would provide ampl e scope for new patrons . One attractive feature of industrial patronage s o far has been its devotion to causes within its own city or region, whic h gives it a quality of participation a government grant can seldom furnish . The development of a Third Force presents hazards as well as oppor- tunities. It is vital that patronage should retain its individuality, and that industrial patrons, especially, should make their own choice o f beneficiaries. It is no less important, however, that they should avoid the risks of piecemeal patronage, of duplication, of short-term enthusias m and all the other liabilities of benevolence . There need to be devised among the new patrons effective procedures for pooling information an d 11 ideas and claimants, and even, on occasion though not habitually, funds . The Third Force, as many of its present units will testify, can secure fro m the Arts Council any information it needs to assess needs and claims, but its policy of grant-aid must be wholly its own . If a new and independent body of patronage is thus to develop th e present practitioners of that function must play fair . Nothing could be more disastrous than for a municipality to diminish its subsidies to th e arts because a regional TV company was lending a hand, or for a government to contract out of any of its present modest obligations to the arts because reinforcements had arrived from elsewhere . The Third Force implies an extension rather than a redistribution of our nationa l responsibility for the arts, in money as well as benevolence, and its success will depend upon its being accepted as such by governments and municipalities.

A NEW OPPORTUNIT Y There arises now a new opportunity to put the arts in Britain on their feet. They abundantly deserve it . In a country where the artist enjoys . less encouragement than elsewhere in the world we have achieved great talent and accomplishment in music, drama, ballet and sculpture, and w e have built up a bigger audience for these arts than has ever existed in these islands before. It is a British habit, and possibly a prudent one, to ignore what foreigners think about us . There have been periods in ou r history when our political, economic or athletic prestige stood higher than it does to-day, but there has never been a time when we were mor e highly rated for our arts . The Royal Ballet wins the profound admiratio n of America ; and the Halle Orchestra rouses the sustained fervour o f countries behind the Iron Curtain. The Old Vic, Stratford and Glynde- bourne are titles of merit in many foreign lands, and we can sweep the. board at a Biennale . These achievements, which are only a sample of the impact our arts have made upon the world since the war, should evoke our pride. They should also arouse a greater sense of national responsibilit y than is at present apparent . Art is a potent ambassador, but it is stil l governmental practice in this country to deny art its full opportunity t o reveal our excellence to the world . Our artistic reputation abroad owes. precious little, in terms of money or moral support, to any British Government since the war, yet in nothing have we been more popular and acceptable to foreign nations than in the visits of British artists . Governmental indifference in these matters is a two-way deficiency ; for 12 not only do we fail to sustain and finance our own artistic missions but equally neglect to give official recognition to reciprocal missions fro m foreign states. Trade delegations may be received at Lancaster House but not the Moscow Art Theatre . On all counts the time is ripe for a new deal in the arts . They have proved their worth, in accomplishment, public esteem and foreign acceptance. What they now need is a greater measure of public recognition and support . The energy and variety of our arts should be matched by a similar diversity of initiative in their promotion and patronage . This is the point at which a Third Force can apply its influence immediately . Governments and municipalities move slowly, even when they are on the right lines. The Third Force can be more mobile and adventurous i n accepting the present opportunities . W . E. WILLIAMS

13 2

NOTES OF THE YEA R

1 . THE OPERA CRISI S The opera crisis of last spring arose from two causes : (a) the insufficienc y of the subsidies the Arts Council is able to offer the producing com- panies, and (b) the failure of the companies to agree on any of the plan s for fusion, co-operation or amalgamation, even when proposed by themselves. For neither of these eventualities was the Arts Counci l responsible. The lack of the means to sustain opera on the basis of ascertained and accepted need is due, year after year, to the fact that th e Treasury grant to the Arts Council turns out to be substantially less tha n the careful and accurate estimate of requirements submitted . At the same time, the Arts Council has repeatedly asserted the belie f that many advantages could result from some measure of integration o r association between the various opera companies-Covent Garden , Sadler's Wells, Carl Rosa and the Welsh National Opera Company . In furtherance of this belief the Arts Council brought together, in the firs t place, representatives of Covent Garden and Sadler's Wells to discuss a scheme advanced by the Sadler's Wells Trust for amalgamation wit h Covent Garden. Despite some well-founded misgivings Covent Garde n finally agreed, in principle, to accept amalgamation ; but by the time that measure of agreement had been reached the Governors of Sadler' s Wells (the owners of the theatre, a separate body from the Sadler's Wells Trust, which runs the opera in the theatre) found themselves divided o n the question of how the proposed amalgamation should be administered . At this juncture, and before the suggested Covent Garden-Sadler' s Wells fusion had been settled one way or the other, a new development occurred : a proposal was volunteered by the Welsh National Oper a Company for an alliance with the Carl Rosa. The Arts Council agreed to bring together representatives of the Carl Rosa and the W.N.O.C. to examine the possibilities of this alliance, but at the round-table con- ference which was summoned the Carl Rosa spokesmen rejected the mai n proposal although expressing their willingness to consider experimenta l forms of association such as a joint festival season in South Wales or th e 14 acquisition of a co-operative base in Cardiff. These amendments were unacceptable to the W.N.O.C., and the Carl Rosa-W .N.O.C. axis broke clean in two . A new notion was now advanced . The Sadler's Wells Trust, on its own initiative and without the foreknowledge of the Arts Council , approached the Carl Rosa with a proposal for a partnership between them. On November 21st, 1957, the Arts Council received a joint declara- tion from the governing bodies of these two companies that `we are mutually and unanimously agreed that amalgamation of the Sadler' s Wells Opera Company and the Carl Rosa Opera Company will brin g advantages both artistic and practical to both organisations' ; and the document set forth eight reasons for this conclusion . The proposal to amalgamate Sadler's Wells and. the Carl Rosa was neither initiated nor urged by the Arts Council . It was wholly their own idea. But the Arts Council, having failed to secure approval for the amalgamation of Covent Garden and Sadler's Wells, was willing t o endorse the voluntary amalgamation of Sadler's Wells and Carl Rosa , and declared its readiness to concur. It also announced that it would provide £215,000 in the current year to finance the new combination . When this figure came to be examined the representatives of the tw o companies concluded that it was inadequate to ensure the continuanc e of their work on the present scale and to lower their overdrafts to a prudent level . They agreed that some reduction of forces and programme s was necessary if no more than £215,000 was available for the join t operation, and finally arrived at a formula which would provide, in the first year of fusion, some 17 or 18 weeks of opera at Sadler's Wells an d about 30 in the provinces . This decision, it was recognised, would brea k the continuity of Sadler's Wells as a permanent company on annual contract, but this was considered to be preferable to closure. This temporary truncation of activity was not imposed by the Arts Council : it emerged as a working compromise from joint discussions by the parties involved. It was then accepted by the Sadler's Wells Trust ; but before it could be endorsed (or rejected) by the Carl Rosa Mr . Norman Tucker, the administrator of the Sadler's Wells Trust, resigned ; and two other officers of the Trust resigned with him, on the ground that the curtailmen t of activity involved at Sadler's Wells was a retrograde and intolerable decision. These resignations had an immediate effect . The threat to Sadler' s Wells evoked much sympathy ; various bodies and individuals applie d themselves to plans for raising money for Sadler's Wells. On the strength 15 of this public reaction the Sadler's Wells Trust and Governors no w abandoned the proposals for amalgamation with the Carl Rosa an d declared their intention of continuing their full-scale operations as a separate company. It is now known that they will be able to do so . With £150,000 from the Arts Council, £25,000 from the L .C.C. and £5,000 from independent television they should be able to make ends meet in the current year. Mr. Tucker and his colleagues have since withdrawn their resignations. A few reflections on this opera crisis are, perhaps, admissible . The first is that the Arts Council rejoices that allies have at last reached the battle - field and that Sadler's Wells, as we know it and respect it, is to continue in action. The next, and the one particularly appropriate in its own annua l report, is that the Arts Council neither imposed nor sought to impose amalgamation upon the companies concerned . The compromise which led to the resignation of Mr . Tucker and his associates was the one accepted in the first place by his own governing body, and only sub- sequently endorsed by the Arts Council. Some of the Press comment an d correspondence at the time construed this crisis as being the result of an effort by the Arts Council, happily frustrated, to bring off a shot-gu n marriage between the Wells and the Rosa . It was no such thing. This abortive amalgamation was conceived by two consenting partners ; and only when it failed to come off was the Arts Council charged with siniste r intentions. The third reflection to be made is that the Arts Council remains con- vinced that some degree of integration between the opera companies i s desirable. There are obvious opportunities, at present neglected, fo r pooling principals, productions and conductors ; there is a likelihood, at least, that some system of common services, in administration, workshop s and publicity, would be beneficial . And it might even be that a unified supreme command would enable British opera to deploy its limited force s to better advantage . The spring crisis of Sadler's Wells was followed by the summer crisis of the Carl Rosa. Divisions on the Board of the company precipitated the resignation of five of its members, including the chairman, Sir Donal d Wolfit, and Professor Procter-Gregg, the artistic director, who had le d the spring tour and done so much to improve the performances of the company. The plans submitted by the six remaining members of th e Board for an autumn tour were not acceptable to the Arts Council, partl y because it did not consider that an incoming Artistic Director could at 16 such short notice prepare a tour due to open on September 15th, 1958 . Other considerations were that no fewer than 12 members of the Boar d had resigned within 3 -1 years, and that 87 musicians and singers in the Car l Rosa had testified in writing to their confidence in Professor Procter- Gregg's leadership . The Arts Council believed it was imperative t o mount an autumn tour of the provinces, and to find employment for the company. It therefore took the drastic and unusual step of rejecting the plans of the surviving members of the Board and inviting Professo r Procter-Gregg to take out an autumn tour composed of those individua l members of the Carl Rosa who were willing to serve with him. An emergency committee of well-known persons in the world of opera wa s set up to assist him : Mr. Leslie Boosey, Mr . J. H. Lawrie, Mr. David Webster, Mr . Norman Tucker, Mr. Ernest Bean and Mr. Moran Caplat . `Touring Opera 1958', as this emergency plan is called, is not intended as a final pattern . The Arts Council proposes to continue discussions with th e present members of the Carl Rosa and to consider further its attitude towards a body which has for so long been acutely divided in matters o f policy and method. In these discussions the Arts Council will have i n mind once more the general pattern of opera in Britain, and the necessit y to achieve some measure of integration among the companies involved .

2. LORD BRIDGES ' PROPOSALS In his Romanes Lecture last June Lord Bridges gave an acute an d humanistic analysis of the relationship between the State and the Arts . His judgment on these matters is of unusual value because he served s o long, as military men say, `on the other side of the hill' . Three of the recommendations he makes are all within the power of Ministers and the Treasury to enact forthwith. At present the national museums and galleries receive annual doles on a piecemeal basis, and from time t o time such institutions as the National Gallery, the Tate Gallery and th e British Museum publish their separate pleas for a better standard o f maintenance, and offer sad instances of the opportunities of developmen t they are too impoverished to seize. Lord Bridges asks for a co-ordinated pattern of provision for these needs : for a body, in fact, similar in status and function to the University Grants Committee (U .G.C.). `It would b e wise', he said, `to set up a body on similar lines to cover purchase grant s and other crucial items of expenditure of the national museums an d galleries.' The benefits of this wise suggestion are manifest, so much s o that it will doubtless be resisted by budgeteers and bureaucrats, for one 17 of the purposes behind it is to ensure that the museums and gallerie s grant, on this basis, would exceed the meagre sum of its presen t parts. Lord Bridges next proposed that the Arts Council grant should b e quinquennial instead of annual, so that its beneficiaries might lay long- term plans rather than be left in doubt from year to year about the support they will get. The Old Vic, for example, had no such quinquennial assurance behind it when it launched its Five-Year Folio plan, and i f there is to be a coherent development of schemes of that kind there mus t be firm guarantees of support instead of a mere dependence on hope an d good will. In a period of inflation a quinquennial grant would evidently need to embody a mechanism for matching the spiral : as, indeed, does the present Treasury grant to the U .G.C. The Arts Council rouses some criticism because so large a segment o f its grant is applied to opera and ballet . Recognising the difficulties thi s obligation imposes on the Arts Council, Lord Bridges suggests that i t should have two separate votes from Parliament : one for the expensive needs of opera and ballet, and one for the rest of its activities in music , drama, visual art and poetry. On present levels the proportions of these separate votes would work out at almost two to one . In proposing this variation Lord Bridges said, `the issue of how much money this countr y is prepared to spend on opera could then be settled without calling in question the extent and scope of the other activities of the Council' . The basis of that recommendation is that the responsibility for national expenditure on these costly arts would be transferred from the Art s Council to Parliament, precisely as it is borne in France, Italy an d Germany. This very practicable suggestion is, perhaps, worth considerin g side by side with another which has found some favour: namely that , given two votes instead of one, it would be advantageous for them to b e labelled `National Institutions' and `Other Activities' . Covent Garden i s as much a national responsibility as the National Gallery or the Britis h Museum, and should logically be carried on a vote different from tha t which sustains orchestras and repertory theatres and the rest . When the National 'Theatre arrives it, too, will be in that category . National institutions are inevitably located in the capital and if they were borne o n a national vote the present misleading disparity between what the Arts Council spends in the capital and what it spends in the country would , at least, be more explicable, if not more acceptable, than it is at presen t to many sturdy Northumbrians or Devonians . 18 Finally, Lord Bridges speculates on a new pattern of patronage . He discerns the value of local responsibility for the arts and does not want there to be a disproportionate dependence on organs of central govern- ment. Although many municipalities are now supporting the arts loca l government is not an instrument devised for their nurture and develop- ment ; and Lord Bridges believes it possible that, on a civic, or even a regional basis, some new pattern of partnership might be devised i n which municipalities, governmental bodies, charitable trusts and private benefactors could combine forces in a new species of collective patronage. This concept accords in many respects with the Arts Council projec t advanced four years ago, for a Civic Arts Trust, in which the Arts Counci l and a City Corporation would seek allies in big business, privat e patronage and the University to plan and sustain a balanced provision o f the arts in a major northern city . The project, after many false starts, managed to take off, but it remained airborne for about as many minute s as Orville Wright's pioneer contraption. The parallel, fortunately, does not diminish the conviction that the idea is a good one .

3. PHILIP JAME S Everyone associated with the Arts Council knows how much Phili p James has devoted to its aims and activities . He left the Council this summer to become the first Director of Waddesdon Manor, the splendi d property left to the National Trust by the late Mr . James de Rothschild, and he can be relied upon to discover, in this new setting, further oppor- tunities to make beautiful things more accessible to the public. He joined the Arts Council (or, rather, its predecessor and begetter, C.E.M.A.) in 1941 as Deputy Secretary, and a year later became Director of Art. For 17 years he has worked with diligence and devotion to reveal and interpret painting and sculpture to a new and sometimes puzzle d audience. The selection and promotion of the exhibitions which the Arts Council so abundantly presents, year by year, is the final responsibilit y of the Arts Council itself and its Art Panel of advisers ; but the man wh o had to carry the can was Philip James . It is to him, therefore, above all , that the credit must go for the fact that there is to-day .a far greater acceptance and tolerance of experiment in art than there was ten or a dozen years ago. He has achieved this transformation of opinion by th e steadfast conviction that art is a many-splendoured thing and not a repetitive pattern of orthodoxy . Nevertheless his regard for tradition has been as notable as his sympathy for innovation, and the mere chronicle

19 a• Philip lames : a drawing by Claude Rogers of the Arts Council exhibitions presented in this country by Philip Jame s is itself a tribute to his breadth of interest and tolerance . In every man's excellence there is some achievement which especiall y symbolises his faith and works . In this sense Philip James will be remembered with gratitude, above all, for having initiated the Art s Council's own collection of contemporary painting and sculpture, whic h now amounts to 158 paintings, 150 water-colours and drawings, 34 piece s of sculpture and over 400 prints . A more hazardous project can hardly be conceived than that of persuading a council or committee to bu y contemporary art, and Parkinson himself could scarcely invent the paradoxical laws which govern such an activity . Yet without resort to stratagem or duplicity Philip James has contrived the acquisition by a public body of a collection which, when it was lately exhibited in London , was acclaimed as a true mirror of the visual art of our times, as well as a remarkable vindication of the principle of public patronage . To all who have sat on the Arts Council, and to all the officers wh o have served it, Philip James has been a colleague of inestimable worth and example. Accomplished and adroit as an administrator, he has als o retained the wholesome ability to flare up on a matter of principle ; it is this quality of generous incandescence which has animated his servic e to the arts and to the Arts Council.

4. NEW THEATRE S Reports of the closing-down of theatres are much scarcer than the y were a year ago ; indeed, some of the theatres which had suspended operations have resumed them again . But what is much more significant is that two new theatres have at last been built, and there are promises o f more to come . The first of these was the Middlesbrough Little Theatre , the base of the lively amateur movement in that town, but also availabl e to visiting professional companies . It was opened by Sir John Gielgud on October 21st, 1957, and it was opened free of debt, for the entire cos t of building and equipping this delightful theatre had been met by privat e donations and by generous contributions from several local industrial firms. In March there was opened by Her Royal Highness the Duchess o f Kent the Belgrade Theatre in Coventry, which is not only the firs t professional theatre to be built in Britain since the war, but also the firs t ever built in this country out of public funds . The Corporation of Coventry has set an example which other municipalities would do wel l 21 to follow. One of them, indeed, has already resolved to do so : the City of Nottingham has declared its intention of building a new theatre an d has already allocated an excellent central site and selected the architect . In this case the rates will not have to bear the burden of the project, fo r Nottingham has over the years built up a Community Fund which i t has decided to allocate for this purpose . The theatre is designated as the new home for the Nottingham Playhouse Company which, long house d in a converted cinema, has justly earned the reputation of being one of the best repertory companies in the country. Another, the Guildford Corporation, has lately assigned a site in the middle of the town for building a new theatre for Guildford's admirable repertory company, an d there will soon be more news of this development . The Arts Council has for many years given substantial aid to the companies at Coventry , Nottingham and Guildford, and it profoundly welcomes the generous response of the Local Authorities to these endeavours. Finally, there is to be recorded what is virtually the one-man achieve- ment of Bernard Miles whose riverside theatre on the Thames at Puddle Dock is far advanced. This enchanting playhouse will be the first ever t o be built in the City and the first in London to which patrons can gain access by water as well as by bus. It will have many striking and original features of layout as well . There will be no proscenium arch formally separating the actors from the audience : the acting area will serve not only as a platform for the players but also as a promenade for the patrons a s they pass to take their refreshments at the riverside . The patience, per- sistence and ingenuity of Bernard Miles in realising this dream deserve the profoundest admiration of everyone who cherishes the survival o f the living theatre. Meanwhile the one theatre project for which a British Governmen t accepted responsibility several years ago is still in the pigeon-hole, and the handsome site on the South Bank donated by the L .C.C. for our National Theatre remains sterilised .

5. THE BANE OF WEEKLY REPERTOR Y A great number of young actors, technicians and designers who ar e recruited each year into the professional theatre endure, as their first experience of what they have been led to think is an inspiring art, the deadly treadmill of weekly repertory . Most of the towns in which repertory theatres exist are too small to justify plays being performe d for more than one week, so that more than half of those theatres whic h 22 Invitation card, from a design by the artist, to the Robert Dclaunay exhibitio n held at Be Arm Cbuncil Gallery, London, 25M hmatty to 22nd FAnntry, 11958

BELGRADE THEATRE, COVENTR Y Above : The foyer, showing the mosaics by Martin Fro y Below : The auditorium Pr,nr,~raphir : P . IS ,~ i , :onmpsun

- _ T 19titir~~. _ y ' DwOr

Photographer: William Spence r EXHIBITION OF CONTEMPORARI BRIlltill SCULPTURE at Nottingham Castl e grounds, showing (left to right) 'Girl' by Roscn1 .11 } 1 nuns, 'King and Queen' by Henry Moore . and 'Meditation' by Willi 5oukop The Tate Gallery, i i April to 18 Mav receive Arts Council aid are condemned to the hard grind of presenting a different play every Monday night. This routine exists in no other country in the world, and visitors from foreign theatres can scarcel y believe that any artist can survive in such conditions, although they ar e impressed by the efficiency which has been established out of thi s drudgery. The Arts Council has been endeavouring for some time to improve conditions for artists in these theatres . The repertory interchange scheme, instituted three years ago, has proved of considerable help by allowin g occasional productions to be played and rehearsed for at least two weeks ; the New Drama Scheme, which provides a guarantee against loss for the production of approved new plays, but also insists that such plays shal l be rehearsed for two weeks, is another contribution of the same kind. But these are only occasional reliefs ; something more enduring is necessary for a real transformation to be accomplished . The Arts Council has therefore accepted the recommendation of its Drama Panel that , when funds permit and circumstances are propitious, it should co-operate with weekly repertory companies in establishing an all-the-year-roun d schedule of fortnightly rehearsals for their productions. This scheme has already begun to operate in one or two places, and the benefits hav e been apparent not only to the artists, but to the public as well . 6. THE LIBRARY ART GALLER Y Regional galleries can be divided into three groups :- (a) The large galleries in the main centres of population, which ca n be regarded as power-centres of the arts in that they not only generate a strong artistic current but also serve a wide area i n the neighbourhood . Of these there are about ten in the whole country. (b) Smaller galleries which still remain artistic entities and are not combined with buildings devoted to other purposes. (c) The much larger class of dual-purpose building in which a museum or library is combined with the art gallery . The position of the library/art gallery is a particularly difficult one . In the majority of cases their financial resources are completely in - adequate ; a depressingly large number have no purchase grant at all , and the average figure for the cost of displaying travelling exhibitions i s about £100 a year. The annual exhibition programme is often built around purely local activities : amateur art societies, the photographic 23 club and perhaps a college of art, and, ironically, in one case which comes to mind of a most recently built gallery of generous proportion s and spacious rooms, there is complete paralysis owing to the lack of a n adequate staff and sufficient funds . The inability to provide night watchmen often prevents the taking of exhibitions containing pictures of substantial value ; at the other end of the scale exhibitions of reproductions, however carefully planned an d often of the very highest quality, are considered undignified . Winter lecture programmes in these institutions are comparatively rare, and i n one area only three out of 19 library/art galleries take the Arts Council' s programmes of art films . By a long-standing tradition in this country libraries take precedence over art galleries and in these dual-purpose buildings the professional i n charge is almost always a librarian rather than someone with a trainin g in the arts. The supervision of the gallery proves a burden to many o f them and a challenge to few . Much could be done if Library and Ar t Gallery Committees were to be reinforced by the co-option of loca l people with some interest and experience of the visual arts ; and perhaps some system could be devised (as already exists in Birmingham), wher e the nearest `power house' provides an advisory service to the smalle r galleries in the immediate neighbourhood .

7. OPEN-AIR SCULPTUR E For the third year in succession, and largely due to public demand, an Arts Council exhibition of contemporary British sculpture has been hel d in the open air . Last year at least 215,000 visitors attended the exhibition, which was shown in Nottingham, Southampton, Penzance, Cardiff an d Cheltenham. The last of these showings was arranged as part of the Cheltenham Festival of Art and Literature and the interest aroused wa s quite remarkable. Controversial argument was given unusually generous space in the local paper and one of the pieces was bought by the Chelten- ham Art and Literature Festival Society . This year a fresh selection has been made for showing at Leamington Spa, Shrewsbury and Cardiff . There is no doubt that the display of sculpture in the open air, often in a delightful park or garden, where there is a play of sun and shadow and a sense of space, has caught the public imagination . The sculptures come to life : they cease to be mere statues in the restricted area of a public gallery . This growing appreciation owes much to the L .C.C.'s programme of open-air exhibitions of sculpture in Battersea and Holland Parks. 24 8. L .C .C . PATRONAG E The L.C.C. have themselves entered the field as patrons of contemporar y sculpture and other branches of visual art on a noble scale . A year ago it was announced that the sum of £20,000 per annum would be earmarked for commissions and purchases of works of art suitable for the Council' s schools and new housing estates which cover the vast total of nearly 2,000 acres. The Arts Council were invited to act in an advisory capacity and this is a task (not without its onerous side, as every site must b e visited) which they were glad to undertake, through the channel of a sub-committee of the Art Panel. The first year has now passed with th e most encouraging results ; 9 sculptors and 4 painters have been invite d by the L.C.C. to produce sketches and plans . Our public places in Londo n will gain in dignity and interest through this far-sighted move to bring the artist back into the new architectural setting which is so rapidly changing the face of the metropolis .

9. REGIONAL SUBSIDIES FOR ORCHESTRA S One of the encouraging features of municipal aid to the arts is th e willingness of many Local Authorities to take a broad view of thei r responsibilities and to assist enterprises outside their own boundaries . Three of the national symphony orchestras are already benefiting fro m this enlightened attitude. In Lancashire and Cheshire some 44 Loca l Authorities, large and small, are contributing between them abou t £20,000 a year which is equally divided between the Halle and the Royal Liverpool Philharmonic. In Scotland no fewer than 80 Local Authoritie s similarly combine to provide an annual subsidy of almost £40,000 fo r the Scottish National Orchestra . Most of the contributing Local Authorities are places too small, or without a suitable hall, to receiv e visits from the orchestras, and their populations must take a journey i f they want to hear a symphony concert. But the sensible view is taken tha t the orchestras are a regional or a national responsibility and, therefore , deserving of support on a wide civic basis . Some time ago the Arts Council took steps to discover whether Local Authorities in the South-West would join forces to secure similar backin g for the Bournemouth Symphony Orchestra. At a meeting of Local Authorities convened in Taunton the proposal was made that larger Authorities might contribute the product of a one-sixteenth of a penn y rate, while others might come in on the scale of £1 per 1,000 of popula - 25 tion (e.g., £35 a year from Taunton) . The suggestion is now being con- sidered by the numerous individual Authorities, and the results of thi s plan for a regional levy will be considered at a further conference i n Bristol in the early autumn. It is not of primary consequence if the total sum voted at first is a modest one . The essential object is to get the principle adopted by a group of Authorities and to trust their example t o spread year by year to the less forthcoming Local Councils .

10. AN INDUSTRIAL EXAMPL E The Bournemouth Symphony Orchestra has been fortunate to benefi t from an imaginative and practical gesture on the part of a record - manufacturing firm, Allied Records Ltd., who make and distribute records under the name of Classics Club . Realising that the maintenance and development of symphony orchestras was a matter of vital concer n to his firm's business prospects, Mr. Marcel Rodd, the Managing Director, decided, with the approval of his Board, to launch an appeal for any contributions which the individual members of his Record Club migh t care to make and, in addition, levied a 1i per cent royalty on all record s sold by the Club over a specified two-month period . A sum of over £1,000 has already been received by the Orchestra from these tw o sources, and more money is still coming in. The Orchestra has also made its first record for the Club, unde r arrangements which are unusual and more favourable than the norma l practice in the recording industry. The Western Orchestral Society, which controls the Orchestra, has a direct interest in the sale of all copies of the disc, is guaranteed the minimum rate applicable under the Musicians ' Union/Gramophone Recording Companies Agreement, and will also receive an agreed management fee, together with the profit on any disc s sold through the Society. This gesture and fresh approach to the relationship between orchestra s and the recording industry deserves to be copied and developed as a par t of the increasingly important role which industry is playing in the patronage of the arts .

11. YOUNG CONDUCTOR S A reference in last year's Report under the heading `Encouragin g Young Conductors', drew attention to the problem of arranging adequat e and proper opportunities for trained young conductors to acquire practica l experience with a professional orchestra . An ambitious attempt on these 2b lines was made recently in Liverpool, where the Royal Liverpool Phil- harmonic Society held an International Conductors' Competition . Despite the high entrance fee of 40 guineas, no fewer than 120 applications were received to attend the two-week course and tests. Nineteen candidate s were finally selected to participate, and each had the opportunity o f three 20-minute sessions with the Orchestra, in addition to a full pro - gramme of instructional and ancillary activities . Special contributions from the City of Liverpool and Thew Bequest (administered by the Council) were made towards the costs of the course , which was arranged and judged by William Steinberg and the Society' s own Musical Director, John Pritchard . In addition to the opportunity of working under two distinguished and experienced conductors, the candidates were afforded incentive to show their skill and proficiency in the knowledge that prizes, both of cash and in the form of engagements , were offered, and that for those of British nationality, an appointment for one year as Musical Assistant to the Society's Musical Directo r would be made. In the event, the adjudicators were not able to declare an outright winner of the competition, though three candidates were judged to be o f equal merit and worthy of prize awards . Sverre Bruland (Norway) and Haig Yaghian (U.S.A.) received prizes in the form of conducting engagements with the Orchestra, while Zubin Mehta (India), the younges t competitor, qualified by virtue of his British Commonwealth citizenshi p for the appointment as Musical Assistant . Wyn Morris (Wales) received a special prize of £100, given by an anonymous donor . The Morley College Symphony Orchestra has also been engaged in th e search for talented young conductors . Here the prize took the practical form of a public appearance with the Orchestra in London . Over 90 applications were received and considered by a panel of five judges who , for the final decision, were joined by Sir John Barbirolli . Mr. Michael Steyn, a 26-year-old student at the Guildhall School of Music, was declared the winner, and he subsequently conducted the Orchestra in a programme of his own choice at Chelsea Town Hall.

12 . NATIONAL FEDERATION OF MUSIC SOCIETIE S References in earlier Annual Reports to the work of the Nationa l Federation of Music Societies have stressed the success and efficiency o f the Federation's role not only in administering for the Arts Council funds devoted to amateur choral and orchestral societies and to chamber musi c 27

clubs but also in securing the federal union of so many scattered group s of music-makers with one common purpose. It is sometimes said that the only reason for a society or club to join the Federation is in order t o receive Arts Council assistance from that particular channel, but the value of its work in other ways through the network of regional com- mittees and the advice and assistance available from a permanent staff at headquarters has proved itself over several years as the main justifica- tion for the Federation and its activities . A reference to the Music Section of this Report, where statistics and notes of its activities appear in some detail, will illustrate the extended and variegated scope of the Federation .

13. NEW OPERA COMPAN Y The provision of opera in London was augmented by the activities at Sadler's Wells of the New Opera Company-an undergraduate bod y inspired by previous successes in Cambridge and now reconstituted i n the metropolis with substantial professional assistance . It aims mainly to provide opportunities for the production of contemporary operas . Encouraged by the success of their first season, which comprised th e world premiere of Arthur Benjamin's A Tale of Two Cities and the first London hearing of The Rake's Progress by Igor Strawinsky, and inspired by youthful and imaginative direction, the Company enlarged thei r second season to two weeks and presented the following enterprising repertory :- Der Revisor Werner Egk (First British performance) The Unicorn, the Gorgon and the Manticor e Gian-Carlo Menotti (First British performance) A Tale of Two Cities Arthur Benjamin (Revival) The Soldier's Tale Igor Strawinsky Sir John in Love Ralph Vaughan Williams

14. HOUSING THE ART S Considerable progress has been made by the Council's `Housing th e Arts' Committee of Enquiry, which is carrying out a comprehensive survey of the needs for cultural buildings in Great Britain . Its Report, which it is hoped will be presented to the Chancellor of the Exchequer 28 early next year, will be divided into four parts, covering the needs of th e metropolis, the provinces, Scotland and Wales . The survey will refer to existing accommodation, and show how far it is adequate, or otherwise , for its purpose to-day. Numerous new building plans for concert halls , theatres, exhibition galleries and other buildings connected with the arts have been examined by the main Committee of Enquiry, or by th e Scottish or Welsh Committees ; and any recommendations forwarded to the Chancellor will concern schemes that can be regarded as bein g practical propositions within the next ten years. Although the findings cannot be anticipated, it can be said that one of the interesting points likely to emerge is the extent to which Local Authorities in different part s of the country are now prepared to use their powers under the Local Government Act of 1948 in providing for the arts within their boundaries , thereby showing their awareness that they share a common responsibility with the Arts Council for encouraging the performance and presentatio n of the arts.

15. REGIONAL ARTS ASSOCIATIONS Following the creation of the South Western Arts Association in 1956 , representatives of the Midlands Arts Centres and Arts Clubs met in Birmingham in February 1958, and decided to form an association of thei r own. The aims of the Midlands Arts Association are modest ; and it intends in the first instance to act as a channel for the dissemination of information between its members and as a link with the Arts Council . It is too early as yet to give details of its plans ; but the Council feels that its formation is an encouraging sign that the Midlands Arts Centre s and Arts Clubs are aware of the need for some measure of self-help. The Second Annual Report of the South Western Arts Association is a record of successful consolidation . There were 24 full member societies for 1957/58, 15 associate member societies, and 121 individual members . Two new arts centres were opened (at Shaftesbury and St. Austell) ; three conferences were held (at Dartington, Shaftesbury and Bridg- water) ; and in addition to the Association's normal activities, special attention was paid to poetry. The initiation of the Shaftesbury project was mentioned in our Annual Report for 1953/54 where it was explained how the local Arts Club ha d acquired the Upper Market Hall and was planning to convert it into a Centre. Since then the work of adaptation has proceeded slowly bu t surely-with the help of numerous volunteers, both men and women , 29 c helped by local tradesmen and local builders. The premises, which includ e a theatre with a raked floor and seating accommodation for 220 people, were formally opened on November lst, 1957, by Dr . Wyn Griffith , Vice-Chairman of the Arts Council. At St. Austell, the local Society of Arts decided in 1956 to buy a detached house standing in its own grounds with sufficient space to buil d a theatre at some later date, and to provide a large car park . A special company limited by guarantee was set up to carry out the purchase ; and the greater part of the purchase price was raised by mortgage, the balanc e coming from interest-free loans . An Assembly Room seating 70 has bee n made by knocking down a wall, and a studio by putting a large skylight in the roof; and there are numerous rooms for rehearsals, meetings and other activities. It is the intention of the Society of Arts gradually t o acquire the assets of the Company. In addition to its normal activities , the Centre acts as headquarters of the Cornwall Rural Music School an d provides an office for the Staff Tutor of the University of Exeter. The South Western Arts Association decided to sponsor an antholog y of verse from the West Country. Charles Causley, who edited it, include d examples of the work of 46 poets-some of them born in the Wes t Country, some of them visitors, and some who had settled there-an d the anthology was published by Macdonald in the autumn of 1957 unde r the title Peninsula. The financing of the venture was made possible b y the beneficence of 16 patrons who each contributed £25 to a special fund ; and its success was such that by the end of March 1958 the volume was sold out, and the patrons' contributions had been repaid in full. A special Symposium of Poetry was held in Bath at the time of the publi- cation of Peninsula. This was organised and financed by the Everyma n Club, a member society of S .W.A.A., and was attended by over 250 persons, including poets, publishers, critics and readers .

16. THE POETRY BOOK SOCIET Y `Essential reading for all interested in poetry to-day'-that was how Robin Skelton (in a review in Books) described the Bulletin published regularly by the Poetry Book Society and distributed with each choice. Other services include an annual check-list of published verse and a specially edited poetry supplement . For 1957, this supplement was edited by Vernon Watkins under the title Landmarks and Voyages and con- tained The Wall (being an extract from a longer work by David Jones), and poems by W. H. Auden, Frances Cornford, Ted Hughes, Laurie Lee, 30

Anne Ridler, Theodore Roethke and C . A. Trypanis. All this is additional to the four books chosen and distributed to members ; so it is hardly surprising that membership in 1957 rose to a record level of 880 . The selectors for 1957 were Professor W. H. Auden, the Hon . V. Sackville- West and Vernon Watkins ; and the four books chosen were :- The Stones of Troy C. A. Trypanis Visitations Louis MacNeice The Hawk in the Rain Ted Hughes Words for the Wind Theodore Roethke Recommendations were given to :- The Collected Poems of Norman Cameron Still and All Burns Singer Poems of Many Years Edmund Blunde n The Sense of Movement Thom Gunn The Collected Poems of Roy Campbell Act One Randolph Stow The selectors for 1958 are J . R. Ackerley, Patric Dickinson and Roy Fuller.

17. MEMBERSHIP OF THE COUNCI L We record with pleasure that the Chancellor has appointed Sir Kennet h Clark, K.C.B., to serve as Chairman of the Council for a further perio d of two years from May 1st, 1958 . Lady Fermoy, O .B.E., Lady Ogilvie, Sir William Coldstream, C .B.E. , Sir George McGlashan, C .B.E., and Mr. John Newsom, C.B.E., retired from the Council on December 31st, 1957. Sir William Coldstream, as a member of the Executive Committee , was eligible for reappointment, and was in fact reappointed to th e Council by the Chancellor for a further period of four years . Sir George McGlashan, who retired from both the Scottish Committe e and the Council on December 31st, 1957, had been a member of th e Scottish Committee since January 1st, 1948, and Chairman since October 18th, 1951 ; he had also been a member of the Council since January 1st, 1951, and a member of the Executive Committee since January 1st, 1955 . We regret that Sir Wynn Wheldon, K .B.E., D.S.O., LL.D., felt himself obliged to resign from both the Welsh Committee and the Council o n February 1st, 1958, on the grounds of ill-health . In his last period of 3 1 office Sir Wynn had been a member of the Welsh Committee from January 1st, 1953, and a member of the Council from April 1st, 1955 . The Chancellor has appointed Sir Emrys Evans, LL .D., a member of the Council for the period ending 31st December, 1962, and the Council has appointed Sir Emrys a member of the Welsh Committee for the sam e period. Mr. Ernest Boden, who had been a member of the Scottish Committe e since January 1st, 1954, was appointed a member of the Council o n July 9th, 1957, for the period ending December 31st, 1960 . Sir John McEwen, Bart., LL.D., was appointed Chairman of the Scottis h Committee with effect from January 1st, 1958, and at the invitation o f the Chancellor rejoined the Council for a period of five years from th e same date . Sir John's previous period of office as a member of the Counci l came to an end on December 31st, 1956 . In addition, the following new members were appointed to the Council by the Chancellor for the periods set against their names :- Miss C. V. Wedgwood, C.B.E., for four years ending December , 31st, 1961 . Mr. T. E. Bean, C.B.E., for four years ending December 31st, 1961 . Mr. Hugh Willatt, for three years ending December 31st, 1960 . Dr. Wyn Griffith was reappointed as Vice-Chairman of the Council and a member of the Executive Committee. The following were als o appointed, or reappointed, to the Executive Committee and, where noted , as Chairmen of the Panels given in brackets after their names :- Sir William Coldstream, C.B.E. (Art) Mr. J. Compton, C.B.E. (Poetry) Professor Gwyn Jone s Mr. Benn W. Levy, M.B.E. (Drama) Professor Anthony Lewis (Music) Sir John McEwen, Bart., LL.D.

Honours The following members of the Council's Panels were included in the Queen's Honours List : Miss Celia Johnson (C .B.E.), Mrs. K. L. Somerville (O .B.E.), Dr. Thomas Armstrong (Knight Bachelor), Mr. Louis MacNeice (C .B.E.).

32 3

ART

The Arts Council's own collection of paintings, drawings and graphic Arts Counci l art has long provided a series of exhibitions which have well proved their Collection popularity and they are in continuous demand . It has been felt, however , that their loose division into somewhat arbitrary stylistic groups, picture s being added to the collection as they become available and not from any attempt to produce a comprehensive survey, should be remedied as soo n as sufficient paintings had been secured and the representation of con - temporary art was fairly complete . This moment came last year when i t was decided to recast the collection into four exhibitions of about 5 0 works each . The work of selection and cataloguing was admirably carried out by Mr. Andrew Forge. The four groups have been labelled `Towards Impressionism', `After Impressionism', `Romantic and Abstract' and `Since the War' ; and each group has its own catalogue, with an explanatory introduction on the aims and methods of the artists represented . Whilst the representation of some groups is by no means yet complete, a basis has now been provided by which a more selective policy of purchase can be planned. Even now when all four exhibitions can be shown at the same time, and where galleries are large enough this can be arranged, a remark- ably impressive survey of painting in England since the last war can b e seen, with a number of works by older artists who provided the antecedents . The outstanding exhibition of the year was that devoted to the work of Monet Monet, which was organised by the Council for the Edinburgh Festiva l and for a showing at the Tate Gallery afterwards . The selection and cataloguing was once again entrusted to Mr . Douglas Cooper, who had already set a high standard for these exhibitions by the two he had previously organised on Gauguin and Braque . In spite of a rival exhibition on Monet taking place in the States at the same time, a fine an d comprehensive exhibition was brought together of 115 paintings which included many well-known works. This exhibition was visited by 133,51 5 people at the two showings. It is rare, owing to the difficulty in securing individual pictures, which cannot be lent because-of their condition or fo r various other reasons, that an exhibition as originally planned by it s 33

Wright of organiser can materialise. This, however, happened with the Wright of Derby Derby exhibition which was organised for the Council by Mr. Benedict Nicolson, with the generous co-operation of Derby Art Gallery an d Mr. A. L. Thorpe, its Curator. It was time that the stature of thi s neglected artist should be reassessed and an admirable opportunity wa s here provided. The exhibition included paintings which had never bee n exhibited since they were painted or had been produced to provide th e decoration of rooms from which they were removed for the first time. A scholarly _ and detailed catalogue completed Mr . Nicolson's personal tribute to this distinguished artist . The exhibition was shown first at the Tate Gallery and subsequently at the Walker Gallery, Liverpool . Owing to the large size of some of the most important paintings it was no t possible to arrange for further showings . Niarchos The exhibition of Paintings from the Niarchos Collection, which had Collection been shown with great success in the States and in Canada in 1957 an d 1958, was virtually the last exhibition planned by Mr. Philip James as Director of Art . At his persuasion Mr. Stavros Niarchos generously agreed to lend his pictures, to which a few pieces of sculpture by Degas were added, for a showing at the Tate Gallery. Unfortunately the exhibi- tion coincided with the London bus strike, but the attendance figures o f 60,173 are remarkable when it is realised that for five out of the six week s of the showing the majority of visitors must have walked a long distanc e to see the exhibition . The collection included many well-known paintings, especially by post-impressionist artists, which had not been seen in thi s continent for many years. Other Three interesting exhibitions of the work of foreign artists painted in Exhibitions the earlier part of this century were shown during the year . A carefully selected and well-balanced exhibition of Permeke was organised by th e Minist6re de l'Instruction Publique of Belgium and shown at the Tat e Gallery. The sound painterly qualities of this artist could be for the firs t time appreciated over here by the inclusion of many of his larges t paintings, which were often his best . A second exhibition followed at the Tate Gallery devoted to the work of Kandinsky . This was generously lent by the Solomon R. Guggenheim Museum, New York, who had only 12 months before provided us with another exhibition from their collec- tion. At the same time an exhibition of the paintings and drawings o f Delaunay was held at the Council's own gallery in St. James's Square. This had been selected by Jhr . W. Sandberg, Director of the Stedelij k Museum, Amsterdam, with the artist's widow from a larger exhibitio n 34 shown at the Musee National d'Art Moderne in the summer of 1957. The two latter exhibitions provided an interesting, though partial, survey of abstract painting in the first decade of this century . The Oriental Ceramic Society planned, this year in conjunction with the Arts Council , an exhibition of The Arts of the Ming Dynasty, which was shown at St . James's Square. This exhibition was important in that it was possible to see there a considerable quantity of lacquer and a number of scrolls an d paintings from important collections abroad, including Boston, providing an aspect of Ming art which is inadequately, in fact barely at all, rep - resented in this country. A second exhibition of Contemporary Sculpture in the Open Air is being shown this summer at Leamington Spa, Shrewsbury and Cardiff . The great success of the exhibition last year and the large attendances whic h it drew well justified this second attempt. The difficulty, however, of securing large enough works, which are essential for outdoor showing , and the need for the careful planning of the sites clearly indicate that thi s exhibition should be a biennial and not an annual event . A second sculp- ture exhibition was held at St. James's Square where the British Counci l Chadwick exhibition which had been organised for the Venice Biennale , 1956, was shown in the courtyard and in the ground floor galleries . This exhibition was visited by over 4,000 people . The Arts Council's Scottish Committee exhibition, George Chinnery, selected and catalogued b y Mr. Allan Carr, was also shown in the Council's London gallery at the request of a number of people who had not been able to see its first showing in Edinburgh. The Council's Cambridge Gallery continues to be the only place i n Cambridge Cambridge where a series of exhibitions of modern paintings can be placed . Gallery The most successful of these, shown during the academic year 1957/58 , has been Sidney Nolan paintings, a selection from the exhibition organise d by the Whitechapel Art Gallery, and Abstract Impressionism, taken over from the Department of Fine Art in the University of Nottingham. Each of these was visited by 1,000 people. . At the beginning of this year the National Gallery made available 300 National pictures from their reserve collection for loan to provincial galleries . The Gallery distribution of 198 of these to 19 galleries in England, Wales and Norther n Loans Ireland has recently been completed by the Arts Council . This is the fourth selection of pictures to be sent out on loan since the presen t scheme was instituted in 1951 . Twenty-two galleries have participated i n the first three distributions borrowing a total of 187 pictures . The loans 35 are for two years in the first instance, but the period can be extended and many of the pictures from the first distribution are still with the galleries which borrowed them in 1951 . Ever since the National Gallery (Loan) Act of 1883 was passed the Gallery has lent pictures to the smaller gallerie s to a limited extent. After the war the Trustees decided to lend on a muc h larger scale, and the Arts Council agreed to their request to undertake th e necessary administration of the scheme . Through the Arts Council the National Gallery has also recently place d on loan at the City Art Gallery, Manchester, for a period of five years, Rembrandt's Capuchin Friar. Art Films The popularity of art films appears to be constant and the eight h successive tour was well received . In spite of bad weather in February , when the mobile unit was snowed up and had to be extricated by tractor s in Yorkshire, only one performance was cancelled. The films were show n in 101 places to a total audience of about 15,000 ; 130 performances were given. Six new films were added to the repertory . Among them were Paul Haesaerts's A Golden Age, which won first prize for films on art at the Venice Film Festival in 1955, Wall Paintings in a 15th-Century Chapel and Norman McLaren's Blinkity Blank, both of which won awards at Cannes Film Festival in the same year . John Read's second experiment in the intimate approach to an artist and his work, L. S. Lowry, and an excellent documentary on colour lithography, directed by Jesse Senn for th e University of Mississippi, were also included . Negotiations for the hire of Luciano Emmer's Picasso fell through, but this film has been booke d for the 1958/59 tour. The Arts Council's film The Stained Glass at Fairford was shown at the Academy Cinema in London at 138 morning performances between November and February, and in the feature programme between March and May 1958 ; it was also shown at the Cosmo Theatre in Glasgow i n June 1957. Eight 16-mm. prints were sold, of which five were bought by the British Council and one by the New South Wales Government . As part of the celebrations to mark the bi-centenary of the birth o f William Blake, a trust was formed to produce a colour film on the artist' s work, in association with the British Film Institute's Experimental Fil m Fund, the British Council and the Arts Council . A guarantee was given by the Arts Council towards the cost of production . The film, The Vision of William Blake, was written and directed by Guy Brenton of Mors e Films ; advice on the selection of works to be included was given b y Sir Anthony Blunt and Professor V. de S. Pinto and on the production by 36 Mr. Basil Wright. The lyrics were set for solo tenor with oboe obligato by Ralph Vaughan Williams, O.M., and additional music was taken from the composer's suite, Job, a Masque for Dancing . The poems and narra- tion were spoken by Bernard Miles and Robert Speaight . Numerous difficulties arose over the production, but it is hoped that the film will be available for the Council's 1958/59 tour. Prints will be available on 35 mm. and 16 mm., and distribution has been undertaken by the Britis h Film Institute. The presentation of Georges Clouzot's magnificent film, The Mystery of Picasso, at the Curzon Cinema in London in January was the out - standing event in films on art . The Council immediately entered int o negotiations with the distributors to encourage its presentation elsewhere . The possibility of non-commercial screenings in some of the large r provincial cities in the autumn of 1958 is being explored. The film was presented by the Arts Council in co-operation with the Festival Com- mittee at the Aldeburgh Festival on June 20th and will be shown at the Cheltenham Festival of Art and Literature on September 28th an d October 5th, 1958.

37

4

DRAMA

`The Reps' This is the jubilee year of the repertory movement in England ; on September 7th, 1908, Miss Horniman officially opened the Gaiety Theatre, Manchester, with her own company, presenting a new play, and so began what is now a unique feature of our theatrical life . Most of the repertory theatres in existence to-day began, as the Gaiety did, entirely as the resul t of private patronage and strong local initiative ; though private patronage has long since disappeared, to be replaced in most cases by help fro m national and local funds, the loyalty and affection of the audience ha s never weakened. These theatres have survived the grim struggle agains t rising costs and mass entertainment, partly because of good management , but more because they were their own creative centres and did not depend , as so many other provincial theatres did, upon outside management s supplying them with a programme. The best of them to-day are the strong-points of the English theatre, maintaining its bes t traditions and at the same time, with commendable courage, continuall y refreshing the scene with productions of plays by new and unknow n writers. The Arts Council is able to take care of about 30 of these independen t repertory managements in England and Scotland, and the reports which follow will touch upon the work of a fair cross-section of this extra- ordinarily vigorous and adventurous family. Birmingham The Company has had a most successful and eventful year . Twelve Repertory productions were presented in a season of 48 weeks and played to 79 per Theatre cent of capacity over the whole season, in the last three months of whic h the theatre broke all its own records by playing to 96 per cent of capacity. Four. of the productions were of plays being given their first performance s on any stdge and two of these were particularly interesting to the Arts Council-Be Good Sweet Maid, by C. E. Webber, had been commissioned under the Council's New Drama scheme, and The Lizard on the Rock was by John Hall, who was awarded an Arts Council bursary in 1956 . At the close of the season it was announced that Mr . Douglas Seale , who has given distinguished service as producer to this theatre since 1950 , 38 had been appointed assistant producer to the Old Vic and that he woul d be succeeded by Mr . Bernard Hepton . TheCompanyhas most successfullycontinued its policy ofpresenting play s Bristol from the classical and contemporary repertoire, with once again a strong Old Vic representation of work from new playwrights . Nearly half of their presen- tations played to 80 per cent of capacity or over and there is no doubt that the audiences in Bristol are being given an opportunity to see as good a selection of significant plays as could be found in the repertoire of any theatre . It is sad to report that this truest of the `theatres on wheels' is for th e The Century time being at any rate unable to take its company and its plays to th e Theatre industrial areas of Lancashire, Cheshire and North Staffordshire which i t has plied so devotedly for over five years . The machinery and equipmen t are desperately in need of overhaul and, though the Company has kept its head above water with the help of guarantees from Local Authorities and the cost of a production from the Arts Council, it has no reserve s with which to meet the cost-estimated at £3,000-of reconditioning it s vehicles and re-establishing its repertoire . A public appeal has been launched and the Arts Council is closely following the efforts of the Company to get back into service again with its acute technical and administrative difficulties safely overcome . Otherwise, this extraordinary achievement is likely to waste and decay ; the longer the delay, the less chance will there be of repairing wear and tear on vehicles and gatherin g another devoted company together. This most attractive new theatre, described in our last annual report, Coventry, was opened by the Duchess of Kent on March 27th, 1958, with a per- Belgrade Theatre formance of Half in Earnest, a new musical version by Vivian Ellis of Wilde's The Importance of Being Earnest . An independent non-profit - distributing Trust of 15 persons, 10 of whom are members of the Cor- poration, has been set up to run the theatre, and this Trust will receiv e grants from the Coventry Corporation and the Arts Council . The Trust has appointed Mr . Bryan Bailey from the Guildford Theatre to be the director of the theatre, and the policy will be to run fortnightly repertory, although the theatre will be let from time to time to visiting companie s and to amateurs. The new building is already a success, both with the publi c and the artists ; audiences are clearly appreciative of the plays, the excellen t restaurant and the spacious elegance of the foyer, staircases and prome- nades, while the artists are particularly excited and delighted by the flat s incorporated in the building which are a unique feature of theatr e architecture in this country . 39

Farnham This is the smallest repertory theatre receiving help from the Arts Repertory Council and though with such a small auditorium its ambitions ar e Company necessarily restricted, it has shown that an enterprising programme and good management can produce near-solvency. Attendance average for the year was 70 per cent . The resources of the Company were overstrained recently when a second company was established in Reading with th e intention of interchanging productions between the two towns . Unfor- tunately, the experiment failed and though the Arts Council made a small grant towards meeting some of the extra costs, it was clearly wise t o discontinue the effort. Guildford The Council was glad to be able to offer an additional guarantee agains t Theatre Club loss during the year in order that this theatre might extend its system of fortnightly rehearsals for weekly productions . Out of 46 production s presented 33 were given two weeks' rehearsal and 8 of these were new plays. This is an admirable achievement and the club's most discriminatin g audiences clearly appreciated the improved standards which were achieved. Towards the end of the year the Corporation of Guildford announced that a valuable site in the centre of the town would be reserve d for the building of a new theatre. The theatre management is already working on the preliminary arrangement for this and will shortly launch an appeal for funds ; when this is successful, the site will be made available by the Corporation at a peppercorn rent . Leatherhead This company has had its most successful season for many a long tim e Theatre Club and the directors have been greatly encouraged by the excellent support which members have maintained throughout the year ; the average is 71 per cent of capacity, but a number of productions exceeded 90 per cent. This company has also been struggling to improve its standards by fort - nightly rehearsals of weekly productions and the Arts Council has recentl y encouraged an extension of this policy by the offer of an additiona l guarantee against loss for the current year. Leicester This historically interesting and well-equipped theatre was sold in 195 7 Theatre Royal and has now been demolished to make way for a supermarket. In spite of the vigorous attempts to save it made by a small group of local citizens, including an appeal to the Corporation and much press publicity, th e response to the appeal for funds to purchase the theatre was mos t disappointing . A local committee of citizens has been set up to investigat e all possibilities of re-establishing live theatre in the town and they ar e particularly attracted to the idea of a permanent home being found i n their city for a theatre-in-the-round company . Meanwhile, this city of 40 over a quarter of a million people is left with only one professional theatre which devotes itself almost exclusively to variety programmes . This theatre is now firmly established in the life of the city and with Lincoln the help of its own supporters' club and generous friends the whol e Theatre building has been extensively and delightfully redecorated . The Company Association has given some remarkably vigorous productions of new plays an d classics ; notable among these was an exciting performance of the firs t professional production in England of Arthur Miller's version of Ibsen' s An Enemy of the People, later taken to the Playhouse, Oxford, and soo n to be seen in London . Towards the end of 1957 this company was invite d to replace the visits of the Midland Theatre Company in Stanford Hall, Loughborough, once every three weeks . Their success has been remarkabl e and this well-appointed theatre, six miles out of the town, is filled . to capacity at almost every performance by an audience which has to be taken there in special coaches . After two years the English Stage Company at the Royal Court Theatr e London : has firmly established for itself both here and abroad a leading reputatio n The English in contemporary theatre . Its policy of presenting new and frequentl y Stage Company controversial • plays, together with the experimental Sunday evenin g `productions without decor' has stimulated more theatrical discussion than the productions of any other management . The repertoire has been selected from over 2,000 manuscripts submitted and read since th e Company began ; even so, the problem of finding new plays of qualit y is as acute as ever. The Company transferred two plays to the West End during the year ; John Osborne's The Entertainer and a version of Aristo- phanes' Lysistrata by Dudley Fitts . In the same period three production s from the Royal Court, Look Back in Anger, The Country Wife and The Entertainer were presented in New York and for a time ran simultaneousl y there. The success of these activities outside its own theatre has earne d profits for the company which have enabled it to pay its way withou t calling upon the Arts Council's guarantee against loss . The Company has accepted the offer to work in association with the Arts Council from th e beginning of the current financial year. In the final season of the five-year plan to present the complet e London: Shakespeare folio the Old Vic audiences have demonstrated thei r Old Vic Trust appreciation of this rare opportunity by recording the highest level of attendances over a season ever achieved at this theatre . Of -the seven productions which were staged-Hamlet, Henry VI, Measure for Measure, A Midsummer Night's Dream, King Lear, Twelfth Night and Henry VIII 41

-three averaged over 90 per cent of capacity for all performances, an d the average attendance for the whole season was 84 per cent of capacity . In the summer of 1957 the company was officially invited to the Lebanon where its productions of The Merchant of Venice and Antony and Cleopatra were staged in a large open-air Festival Theatre with complete success. The new building in Webber Street on which work had been progressing over the last two years has now been completed and was opened by Her Majesty the Queen on March 18th . These excellently equipped premises will replace three inadequate buildings in different parts o f London which up to now have had to serve the company as worksho p and stores. London : This is the official title of the company better known as Theatr e Pioneer Workshop and which five years ago established itself at the Theatr e Theatres Royal, Stratford East. In the financial year under review the company played for 30 weeks in their own theatre. In the summer of 1957 they were invited to Zurich and Moscow where they presented a productio n of Shakespeare's Macbeth which was later brought to open the season at Stratford East on September 3rd . Other productions during the season included a new play You Won't Always be on Top by Henry Chapman, Man, Beast and Virtue by Pirandello and Celestina, a classic from the Spanish theatre. Soon after the reopening of the season it wa s clear that the company was in serious financial difficulties and discussions between representatives of seven local authorities, the Arts Council an d the Company took place in an effort to find a solution to this problem . But no real solution was found and the problem persists more acutel y than ever. Loughborough: Stanford Hall is a mansion some three miles out of Loughborough, Stanford Mall graced with a well-equipped and very comfortable theatre, which was built shortly before the war. The building is now owned by the Co-operative Union and was one of the dates played regularly by th e Arts Council's Midland Theatre Company . When that Company closed down at the end of the summer season, 1957, local opinion strongl y urged the maintenance of professional drama at Stanford Hall. For an experimental autumn season, the Arts Council invited companies from Windsor, Lincoln, Leatherhead and Guildford to play there, while at the same time making it clear that the Arts Council itself was no longe r willing to continue in the direct management of such a venture, as it had been in the past . On the Council's initiative a series of meetings were held with bodies representing local interest, and, as a result, a non-profit - 42 distributing organisation called The Loughborough and District Theatr e Association has been set up, with financial support from the Lough - borough Corporation, the Co-operative Union, Loughborough First - Nighters Club and Leicestershire Education Committee, as well as the Arts Council. The Association appointed a Committee of Management, which has invited the Lincoln Theatre Association to play at Stanfor d Hall one week in every three and the opening months of the seaso n have proved very successful . The local Trust which was formed to take over and save the historic Margate: Theatre Royal when private ownership could no longer provide for its Theatre Trus t needs completed its first year in November 1957 . With the continued help of the Corporation and the Arts Council the Trust has weathered a difficul t year. The standard of the company's work improved steadily throughou t the year and some of its best productions were also presented at the Theatre Royal, Brighton. It became necessary during the winter to carr y out repairs to the roof over the stage of this most charming theatre and th e Arts Council was able to offer the Trust additional help for this purpose . In March 1946 the Midland Theatre Company was formed by the Midland Arts Council for the specific purpose of touring a regular circuit based o Theatre n Company Coventry. From the earliest days, the Arts Council had the friendliest relations with the Coventry City Council and maintained the Midland Theatre Company so that the taste for a first-rate repertory theatre woul d be developed in the city, while the scheme for a new Civic Theatre was proceeding. The Company played one week in every three at Coventr y Technical College, one week at Loughborough and three days each a t Nuneaton and Netherton, which latterly gave place to a whole week a t Cheltenham . The Company was disbanded at the end of the summer season, 1957, when it was clear that the new theatre in Coventry woul d soon be open. In the 11 years of its existence the Midland Theatre Company cost approximately £104,000 over and above the box-office takings ; nine-tenths of this was found by the Arts Council, the remainder by the Coventry, Nuneaton and Dudley Corporations . The Company had played to audiences totalling about 1,000,000, so that each seat sold wa s subsidised at an average rate of 2s . When the Company disbanded, the Art s Council presented its equipment to the newly-named Belgrade Theatre . Once again this theatre has clearly demonstrated the value of the Arts Northampton Council's bus subsidy scheme by bringing into the theatre over 14,00 Repertory 0 Players people, and £2,700 into the box office, by using a subsidy of £700. Surely such a profitable turnover must appeal to every management . We fully 43

realise that for geographical or other reasons it may not be possible fo r all theatres to make use of this scheme to the same extent, but the Council would like to see more of its grants employed in this way, especially wher e there is clearly urgent need to get empty seats occupied . Nottingham The Nottingham Playhouse must be congratulated on its achievemen t Theatre Trust of establishing such a high standard and reputation during its first nin e years of existence that it has been able to convince the City Council of the need for a new theatre in which the public and the company can b e properly provided for. The Corporation has now decided to build what promises to be an exceptional new theatre by any standards . During the year the Trust was able to purchase the freehold of its own premises, th e Playhouse, with the help of a legacy, and also acquired through th e generosity of the Nottingham Co-operative Society additional premises adjoining the theatre as workshops . It is encouraging that the box-office receipts have increased in each of the last five years . Oxford: The Playhouse at Oxford has kept itself constantly in the theatrica l Meadow news and has had several notable successes, particularly the Lysistrata, Players which was subsequently bought by the English Stage Company, an d Anouilh's Dinner with the Family, which was transferred complete to the West End, where it enjoyed a good run . Of the 13 productions by Meadow Players, two were world premieres and five were Englis h premieres, and seven plays were taken to the Arts Theatre, Cambridge , or for provincial tours of up to four weeks. The Oxford Playhouse Ltd., from whom the Meadow Players rent the theatre, have generously reduced their rent by a substantial amount in the current year . Studio This company performs `in the round', but has no permanent home , Theatre: although the management has been searching for one, fruitlessly so far , `Theatre in the . After successful summer seasons at Scarborough Round' in London and Leicester in a large room in The Library, the Corporation invited the company t o extend its visits to the winter period also ; a production of Phedre in a version prepared by Margaret Rawlings and in which she played the lea d was presented in London for two weeks and then toured to Birmingham , Leicester and Scarborough for a week each . The Pilgrim Trust generously gave the company financial assistance in 1957 towards special equipment for the unusual seating arrangements of the audience . West of The West of England Theatre Company, based on Exmouth, used t o England play a regular three-weekly circuit in Dorset, Somerset and Devon . The Theatre winter seasons always lost more money than the good summers made up o r Company the Arts Council could provide, and early in 1957 the Company was clearl y 44 in very serious financial difficulty and unable to meet its liabilities . Various plans to save the Company were considered, but the necessary financial assistance was not forthcoming and the Company went int o voluntary liquidation . Discussions were immediately reopened with th e Local Authorities concerned to see whether the West Country could continue to be served by a professional company based on one or other o f the repertory theatres adjoining the area . A number of repertory companies have taken advantage of the Council' s Interchanges offer to pay the extra costs involved in an interchange with another repertory theatre. The most benefit is derived by weekly-change companies , and it is they who have made most use of the scheme . Guildford and Salisbury, and Canterbury and Margate have each exchanged twice ; Bristol and Liverpool have also exchanged productions ; and the Colchester Repertory Company and the Group Theatre, Belfast, visited each other's theatres for three weeks . In the summer of 1957 the com- panies from Salisbury, Guildford, Canterbury and Hornchurch took part in a four-point interchange, each visiting the other three theatres, an d though this proved a costly and ambitious programme, it nevertheles s attracted a good deal of commendation in both national and local press . The Council's scheme, as outlined in the last Report, was launched i n New Drama 1952 and during its first five years the Drama Panel has been asked t o give its opinion on 215 plays selected by theatre managements for presentation under the scheme . Of these, 58 were successful in being recommended for financial assistance and ultimate production . In addi- tion the Drama Panel has considered the work of 61 candidates, sponsore d by established writers and recommended for help under the bursary scheme. Eight of these have been awarded bursaries ranging from £10 0 to £500 to enable them to write for the theatre. The Council has also given financial help to authors who have been commissioned by theatr e managements to write new plays for them ; altogether 18 plays have been written under this part of the scheme and a number of them have been produced. In the particular year 1957/58 guarantees were given to 15 new plays , and two bursaries of £500 each were awarded to Bernard Kops and David Campton. More plays than ever were submitted by repertory companie s during the year, and a further number were produced by them without requiring guarantees from the Council . It is no exaggeration of the valuabl e work of the repertory theatres to say that with the help of the Arts Council's scheme they have done more towards encouraging new writer s

45 D

than all the West End managements put together. Tours In the autumn of 1957 and in conjunction with the Welsh Committee , the Arts Council sent out for the first time a company with two plays , Look Back in Anger by John Osborne and She Stoops to Conquer by Oliver Goldsmith, to the theatreless areas of Wales and of North-Eas t England. During a two weeks' visit to one-night stands in the north- east the company played to 4,438 people, which represented 94 per cen t capacity and a per capita subsidy of 3s. (The figures for Wales are referred to on page 75 .) Both plays were produced by Frank Dunlop in settings by Riette Sturge Moore . In the spring of 1958 The Queen and the Rebels by Ugo Betti, translated by Henry Reed and produced by Andr 6 van Gyseghem in a setting by Anthony Waller, was sent out on a short tour to Wales only, but proved unpopular with the public, and this tou r has once more raised the question as to whether these high-quality but highly expensive tours can be justified in the changed circumstance s brought about by the success of sound and television theatre.

5 MUSI C

Symphony The rising costs of Symphony Orchestras were discussed in a specia l Orchestras note at page 30 of last year's Report . The Council, together with most of the principal Local Authorities concerned, was able, in the year under review, to offer additional sums to meet the increased wages to players. For the year 1958/59 it has again managed, in cases where the need i s greatest, to raise its allocations to the permanent symphony orchestras . This, together with higher revenue from the box office and paid engage- ments, added to pro rata increase in contributions from Local Authoritie s seems to indicate that the orchestras will still be holding their financia l fronts during the coming season . There have been signs, in the last two or three years, that audience statistics are tending to become stabilised, provided that no emergenc y or untoward incidents occur to throw out the delicately poised mechanism 46

which governs the regular attendance of the concert-going public . In cases where a further small increase in admission charges has alread y been made, there is no discernible downward trend and revenue ha s risen correspondingly. It is doubtful, however, that the traffic at the bo x office will bear yet higher prices except in isolated events where there i s some particularly popular programme or soloist, a device which mus t be used sparingly in a full season of concerts . No less than three leaders of orchestras associated with the Counci l announced their resignations during the year. Each of them wishes t o devote more time to solo work, or private and free-lance engagements . In Birmingham, Norris Stanley is succeeded by Wilfred Lehman, and i n Bournemouth, Roland Stanbridge takes the place of Derek Collier . Succeeding the familiar figure of Laurance Turner, who has led th e Ha116 Orchestra for years, is Martin Milner . The comparative number of concerts given in the last two years by the five permanent symphony orchestras associated with the Arts Council are these :- 1956/57f 1957/58 1 City of Birmingham 213 213 Bournemouth Symphony 182* 209* Hall6 220 261 * Royal Liverpool Philharmonic . . 195* 178 Scottish National . . 165* 194 t excluding television and sound broadcastin g * including performances abroad and engagements with Opera Companies Orchestras associated with the Council for specific concert pro- motions :- London Philharmonic 69* * London Symphony 13 ** includes 49 concerts presented in centres outside Londo n The highlight of the season was the presentation of Edmund Rubbra' s City Of Symphony No. 7. The Symphony was commissioned by the C .B .S.O. Birmingham with funds provided through the generosity of the Feeney Trust. In Symphony Orchestra Birmingham the work received its first performance on October 1st, 1957 , and it was heard in London for the first time at a concert in the Royal Festiva l Hall one week later. On each occasion Andrzej Panufnik conducted . The vital task of enlisting the joint and active participation of al l Bournemouth Local Authorities in the South-West was demonstrated at a conferenc e Symphony held in Taunton on February 6th, 1958 . Representatives of 36 County Orchestra 47

and Municipal Boroughs and Urban Districts were invited to attend an d investigate ways and means of ensuring the future of the B.S.O. Two co-operative efforts by Local Authorities in other parts of the countr y provided an example of what could be done, more particularly in a n area which has no really large centre of population. While a number of Authorities have still to decide what action shall be taken, many have indicated interest in the scheme in which the orchestra is to be regarde d as fulfilling a vital role in the musical life of the region . Some enter- prising Authorities, both large and small, have already accepted the proposals which call for an annual contribution from the larger centre s of population of the product of a sixteenth of a penny rate, while smalle r towns are asked to vote £1 per 1,000 inhabitants. A further conference is to take place in Bristol in the early autumn. The year's work included over 100 appearances in the Orchestra' s home town and embraced both a competition for composers and a course for young conductors . The latter was devised and directed by their own conductor, Charles Groves. Halls A season especially designed to celebrate the 100th anniversary of th e Orchestra Hall6 brought Sir John Barbirolli and his orchestra together with a large number of distinguished soloists and guest conductors. Visiting orchestra s and five northern choirs also participated. To maintain a festival lastin g over seven months---a good proportion of which was presented outside Manchester--demanded courage, confidence and unflagging stamina. The success of the achievement exceeded the most sanguine expectation s and the Society can look back on an occasion most fittingly honoured . A number of new and unfamiliar works were included in the season an d special programmes were devised to honour the memories of Charle s Halle, Hans Richter and Sir Hamilton Harty, each of whom was closely associated with the Orchestra in past years. While Sir John Barbirolli will remain the Halle's principal conductor , he has announced that he will take part in fewer performances next year . Royal The Liverpool season was enlivened by the introduction of thre e Liverpool concerts of contemporary music presented under the title Musica Viva! Philharmonic Orchestra Inspired, in its title, by a famous series introduced some years ago by th e Bavarian Radio Service in Munich, the programmes contained several works by distinguished European composers which had not been publicl y performed outside London . Admission charges for the series were low, students and enthusiasts attending in good numbers, and at each concert the Orchestra's conductor, John Pritchard, introduced the works 48 to be performed. The success of the experiment has assured four mor e programmes of a similar character in the coming season . The prices of seats for all other concerts in the Philharmonic Hall wer e increased by 6d., and, for the Tuesday Subscription Series, Is . was added to the cost of each ticket. Instead of a decline, actual attendance s increased, resulting in a considerably enlarged figure for admissio n receipts. Under the auspices of the British Council, the Orchestra, Choir an d four leading British soloists under John Pritchard made a first recordin g of Michael Tippett's A Child of Our Time. For the third year in succession the Orchestra devised a special serie s London of concerts at the Royal Festival Hall under the general title `Gran d Philharmonic Tour de la Musique'. In this guise contemporary music of the twentiet h Orchestra century succeeded in drawing good audiences to programmes which The Times declared to be `imaginatively enterprising' . Although no longer on permanent contract, the Orchestra, with the support of the Counci l and Local Authorities, continues its role as the principal provider of symphony concerts in the Home Counties . A summer series of concert s in churches with specially selected programmes again proved to be a welcome and successful method of presenting music to audiences i n areas where normal winter activity is not possible . Although the appoint- ment was announced of Dr. William Steinberg as Musical Director of the Orchestra from September 1958, Sir Adrian Boult's long-standin g association with the Orchestra will not be severed . He remains Chairman of the Orchestra's Advisory Council and will appear as guest conducto r at many concerts throughout the season. In an active season of concert-giving, radio and television broadcasts : London engagements for opera and ballet, as well as recording sessions, the Symphony Orchestra presented its traditional annual series-the 44th-in association Orchestra with the Council. Two concerts in Ostend preceded a successful tour of Belgium later i n the season in which Sir Arthur Bliss, the Orchestra's new President, con- ducted concerts in Brussels and Ypres, where a special programme wa s given to commemorate the fallen in two wars, including music by Georg e Butterworth and poetry by Wilfred Owen . The Brussels concert took place in the Grand Auditorium-a hall situated within the confines of th e Brussels World Exhibition . The Orchestra gave a second concert in the Palais des Beaux Arts, Brussels, under the young Belgian conductor , Edouard van Remoortel. 49

Royal The first concert commemorated the 85th birthday of Ralph Vaugha n Philharmonic Williams. A poem in honour of the occasion was written by C . Day Lewis Society and recited, in the presence of the composer, by Jill Balcon . First per- formances of Sir William Walton's Partita, Vaughan Williams' Ninth Symphony and Roberto Gerhard's Violin Concerto were included in the programmes, one of which honoured Sir Edward Elgar in the centenary year of his birth. Brighton The 1957/58 season was the first occasion upon which the Society in Philharmonic co-operation with other orchestral organisations presented and manage d Society a co-ordinated series of concerts under the title of `The Brighton Concert Season'. This included 15 orchestral concerts in which seven orchestras participated as well as chamber music and pianoforte recitals. Lemare In the North-East, where there has been no full-time resident orchestr a Orchestra since 1955, the Lemare Orchestra continued to operate with the Council' s assistance. Ten orchestral concerts were planned at three centres where municipal aid was also offered . A very poor attendance at the first of the Darlington concerts led to the cancellation of the remaining two, but a series of three in Middlesbrough and four in Newcastle were carrie d through successfully. Attendances in Newcastle, although slightly smalle r than in the previous year, were still satisfactory. In addition to the concerts mentioned, and an occasional one else - where, the Lemare Orchestra is frequently engaged to play at performance s given by choral societies in the locality. Many of its local players are als o members of the professional orchestra which the West Riding Education Committee provides for schools concerts, and it is satisfactory to recor d that in order to integrate, as far as possible, their school and concert-hall engagements, a working arrangement was reached between the Lemar e Concert Society and the Education Committee. Certain players have, however, to be recruited from a distance, and thi s extra expense combined with the general increase in costs has gravel y affected the Orchestra's financial position. Chamber During the year the Jacques Orchestra presented 37 concerts-a total Orchestras which excludes both schools concerts and broadcasts . Their participation, under Dr. Jacques, in the series of concerts given in the Victoria and Albert Museum has become a regular feature of London's summe r musical season . This year they shared the eight concerts equally with the Haydn Orchestra under Harry Newstone . The Orchestra again toured the Lake District and promoted two concerts in the Royal Festival Hall . Under its new title, Philomusica of London, the former Boyd Neel so

Orchestra presented all the orchestral works of J . S. Bach at the Festival Hall during the season. A special series of concerts, alternating with organ recitals, was promoted by the L .C.C. at the novel hour of 5 .45 p.m. London concertgoers were obliged, therefore, to attend immediately after normal office hours and it would appear, from the support th e concerts attracted, that this is an acceptable time for a sizeable minorit y which does not feel disposed to wait until later in the evening when mor e substantial orchestral fare is usually offered . The orchestra continued t o appear in concerts outside London and again co-operated with th e Handel Opera Society. First performances were given of Roberto Gerhard's Concerto for Harpsichord and Serenade for String Orchestra by the young Welsh composer, Alun Hoddinott . Both works were commissioned by Philomusica of London . The Arts Council again increased its grant to the National Federa- National tion of Music Societies for the year 1957/58 ; the following is a summary Federation of of the Federation's activities in relation to these grants :- Music Societies Guarantees Type of Society Number Offered England `A' Societies 124 £10,78 5 `B' Societies 179 £6,010 Music Clubs 116 £3,135 In addition, 50 Music Clubs were offered a total of £58 5 in the form of special grants under the scheme for en- couraging the engagements of String Quartets . Professional stiffening grants totalling £545 were als o offered in respect of 49 concerts by small societies whic h are not eligible to apply for guarantees under the norma l scheme of financial assistance.

Guarantees Type of Society Number Offered II Scotland `A' Societies 9 £880 `B' Societies 16 £530 Music Clubs 13 £670 In addition, 11 Music Clubs were offered a total of £19 0 in the form of special grants for String Quartet engage- ments. 5 1

Guarantees Type of Society Number Offered III Wales `A' Societies . . 3 £85 `B' Societies 13 £475

The final results of the season 1956/57 are summarised in the followin g statement : I England 117 `A' Societies : offered £9,190 : claimed £8,492 = 92 per cen t 174 `B' Societies : offered £5,580 : claimed £4,926 = 88 per cent 110 Music Clubs : offered £2,960 : claimed £2,455 = 82 per cent 9 `A' Societies, 18 `B' Societies and 17 Music Clubs made no claim . II Scotland 7 `A' Societies : offered £810 : claimed £810 = 100 per cent 15 `B' Societies : offered £465 : claimed £382 = 82 per cent 12 Music Clubs : offered £545 : claimed £545 = 100 per cent 1 `B' Society made no claim. III Wales 4 `A' Societies : offered' £80: claimed £50 = 62 per cent 14 `B' Societies : offered £440: claimed £318 = 72 per cent 2 `A' Societies and 4 `B' Societies made no claim. The scheme of special grants to Music Clubs for String Quartet engage- ments, inaugurated in 1955/56, was continued for a third and final year . The Joint Committee of the Arts Council and the Federation, which i s responsible for the allocation of grants and guarantees to individual societies, has decided that the scheme has achieved its object, inasmuch a s engagements of String Quartets have materially increased, and that it should now be terminated and merged into the normal scheme of guarantees. It is intended that financial support (to Clubs which engage Quartets) shall be continued on a level similar to that given under th e grant scheme . This will operate with effect from the beginning of the 1958/59 season . Since the inauguration of the Piano Loan scheme in 1955, six Clubs have been helped to purchase their own pianos . On the occasion of its Annual Conference at Bristol, in November 1957 , the Council gave financial support to a concert organised by the Federa- tion in the Colston Hall. Four affiliated choirs took part in a programm e 52 of British music, comprising works by Elgar, Vaughan Williams and Oldroyd, accompanied by the Bournemouth Symphony Orchestra. Last year's Report referred to the Federation's scheme for the encouragement of enterprise in the choice of works for performance by Choral Societies . On March 29th, 1958, the Nottingham Harmonic Society, as recipients of the award, presented John Gardner's Cantiones Sacrae. The Society's choir and orchestra (with professional stiffening), under their conductor, Herbert Bardgett, gave a fine performance of thi s dramatic work, and the Council and the Federation are satisfied that this experimental scheme of awards is justified . There was insufficien t time to make adequate arrangements for a similar competition for the season 1958/59 ; but it is intended to offer another award, probably on a rather smaller scale, for competition during the following season . The conditions of the competition will be liberalised, so as to encourage smaller societies to take part, while preference will be shown for a secula r rather than a sacred work. Societies are being encouraged to celebrate the Handel bicentenary and the Purcell tercentenary during the year 1959 . The repertoire of choral works performed by affiliated societies has been enlarged to some 22 5 different works ; 26 of Bach's compositions appeared in societies' pro- grammes, the St. Matthew Passion maintaining its popularity with 2 7 separate performances ; societies' concerts also included 17 differen t compositions by Vaughan Williams and 16 by Handel. The Elgar centenary celebrations were held mostly at the end of the 1956/57 season , but nine of his works figured in the 1957/58 programmes, and the Dream of Gerontius alone received 18 separate performances ; 20 different settings of the Mass were included in the sacred works performed, and the Christmas Oratorio was heard 17 times . About 90 different works by British composers were performed, in addition to those mentioned above . The orchestral repertoire of .310 works included 55 different symphonie s and 93 concertos ; here also British composers were well represented . During the year the National Federation became a member of th e Orchestral Employers' Association, and gave evidence before the Industrial Court in the dispute between the Association and the Musicians ' Union about rates of pay for orchestral musicians . As a result .of the Court's award, societies affiliated to the Federation will have to pay about 15 per cent more for the professional orchestral assistance whic h they engage, from the beginning of the 1958/59 season; and this additional burden on the already heavy costs of concert presentation will make i t 53

even more difficult for them to balance their budgets . The Federation hopes to be able to assist these societies to some extent by offerin g increased guarantees, but at the same time is urging all its members t o consider earnestly the various methods open to them to increase thei r independent income . The Federation's Regional Committees have continued their importan t work ; it is worth emphasising that every member of the 18 Committee s now operating all over the country is an amateur and receives no paymen t whatever for his services . Annual regional meetings have been better attended than ever before, and once again much ingenuity has been employed in arranging attractions at these meetings . The Council has helped the Federation by arranging Artists' Parties in some of thes e regions. Societies have come to welcome the visits paid to them by members of Regional Committees, and there is evidence of a friendly spirit o f mutual co-operation in all Regions . The Council's Liaison Officer has travelled extensively during the year, and visited those areas which he was unable to cover during his firs t year ; he has attended some 80 to 90 more concerts by societies affiliate d to the Federation, has contributed to the success of many of the annual regional meetings, and offered advice and encouragement to many of th e Federation's members. In conjunction with the Federation, Mr. Dunn also arranged a detailed itinerary for a distinguished American visitor , Dr. Edward Gilday, who came to study the field of choral music in thi s country. In the course of a prolonged tour, Dr. Gilday visited a large number of choral societies ; he also addressed the Federation's Annual Conference in Bristol . During the year the Federation issued two valuable publications : a guide to the pronunciation of Latin in choral works, and some Notes o n Concert Presentation, both of which created widespread interest . Societies New clubs and societies, which have not yet had time to join the outside the Federation and others of a specialist nature, which are not eligible for N.F.M.S. affiliation, continue to receive financial support direct from the Council. Among the latter category are amateur opera societies whose activitie s are referred to in the next section of the Report . There are also a number of smaller annual `festivals of music', such as those established at Warwick , Dawlish and Tilford, together with new projects of this kind at Shrews - bury, Linton (Cambridge) and St . Bees. In all, 87 such societies, many of which also received aid from their Local Authority, were give n financial support towards the cost of presenting 366 performances . 54 The Society for the Promotion of New Music gave ten recitals of Contemporary chamber music in the Wigmore Hall and two Public Orchestral Rehearsals, Music in the Royal Festival Hall . The Society was invited, for the first time, t o present one of its normal monthly programmes in the thirteent h Cheltenham Festival of British Contemporary Music . The success of this experiment has resulted in a further invitation this year. Various works that appear on the Society's Recommended List have been broadcast b y the B.B.C. Emphasis is given to contemporary music by British composers in the programmes of the reconstituted Macnaghten New Music Group . Under the chairmanship of the founder, Anne Macnaghten, fiv e interesting programmes were arranged and presented in the Arts Council' s Great Drawing Room . One of these was designed to celebrate the 85t h birthday of Ralph Vaughan Williams when first performances of n o fewer than seven works specially written for the occasion by well-know n composers were given. New works by Gerald Finzi, Phyllis Tate, Ala n Bush and William Wordsworth were also given first performances durin g this series. The Music Section of the I .C.A. presented three concerts in the season . The summer concert was given in the Royal Festival Hall when a n orchestral concert conducted by Manuel Rosenthal marked the 75t h birthday of Igor Strawinsky . Three of the private Trusts administered by the Council, each of a Trusts different character, are specifically connected with music. The grants from each are awarded by the Council on the recommendation of separate panels of eminent advisers who give their services in an honorary capacity . The oldest, founded in 1948, a seven-year covenanted gift of £1,000 pe r annum made by a generous anonymous donor, is now continued through a private trust fund . British and Commonwealth students, in any branch, who have reached an advanced stage in their training are eligible and ar e the most usual applicants to this fund, although its scope is such as to enable a grant of £500 to have been made to the Opera School in the yea r under review . Nearly 60 awards have been made from this Trust . The Thew Fund, with a capital of £10,000, was accepted by the Counci l in 1949. This gift of the late Mr. H. A. Thew, of Blundellsands, is restricted to Liverpool and Merseyside, but within that area has a wide purview and can be used for the promotion of musical activities as wel l as for assistance to students . The Suggia Gift, an endowment of £10,000 from the estate of the late 55

Gulhermina Suggia, was made to the Council jointly with two othe r trustees, through an English friend in 1956 . The terms of the bequest require that the income must be used for students of the 'cello under 21 years of age, of any nationality, who can show a potential ability t o reach the highest international standard of solo performance .

6

OPERA AND BALLET Covent Garden The general operatic situation is dealt with extensively in the second and Sadler's section of this Report under `Notes of the Year' . In spite of the various Wells difficulties referred to under this heading, Covent Garden and Sadler' s Wells succeeded in mounting the following new productions :-

COVENT GARDEN OPER A The Trojans. June 6th, 1957 Aida. October 28th, 1957 Music : Berlioz Music: Verdi Producer : John Gielgud Producer: Margherita Wallma n Scenery and costumes : Scenery and costumes : Mariano Andreu Salvatore Fiume Conductor : Rafael Kubelik Conductor : Rafael Kubelik The Carmelites . January 16th, 195 8 Music : Poulenc Producer : Margherita Wallma n Scenery and costumes : Wakhevitch Conductor : Rafael Kubelik THE ROYAL BALLET Petrushka. March 26th, 1957 A Blue Rose . December 26th, 1957 Music: Igor Strawinsky Music : Samuel Barber Choreography : Michel Fokine Choreography : Peter Wright Scenery and costumes : Scenery and costumes : Alexandre Benois Yolanda Sonnabend 56

The Angels. December 26th, 1957 The Burrow . January 2nd, 1958 Music: Richard Arnell Music : Frank Marti n Choreography : John Cranko Choreography : Kenneth Mac- Scenery and costumes : millan Desmond Heeley Scenery and costumes : Nicholas Georgiadis SADLER9S WELLS OPERA The Moon and Sixpence. May 24th, The Telephone . October 29th, 195 7 1957 Music: Gian-Carlo Menotti Music : John Gardne r Producer : Wendy Toye Producer : Peter Hall Scenery and costumes : Scenery and costumes : Malcolm Pride Leslie Hurry Conductor : Michael Moores Conductor : Alexander Gibson Duke Bluebeard's Castle. The Merry Widow . January 20th, October 29th, 1957 1958 Music: Bela Bartok Music : Franz Lehar Producer : Wendy Toye Producer : Charles Hickman Scenery and costumes : Scenery and costumes : Thea Neu Malcolm Pride Conductor : Alexander Gibson Conductor : Gerald Gover Financial considerations precluded a new production by the Carl Rosa Carl Rosa Opera Company during the year under review . Two tours took place in the spring and autumn periods 1957 comprising 36 playing weeks and at th e conclusion of the second tour, Mrs. H. B. Phillips retired from the post of Director of the Company, but continued to serve as a member of the Board of Management . Professor Humphrey Procter-Gregg, who had been appointed as her successor, was able to see much of the Company's wor k during her final tour and took over responsibility in January, 1958 . A number of changes in the Company, made at his instigation, provoke d, sharp dissensions in the Board of Management, and led up to the muc h publicised summer crisis in the Carl Rosa's affairs which is referred to else - where in this Report . During the course of the year the Group decided to revise its policy by English concentrating, in future, on the production of new operas rather than Opera reviving existing repertory. In an effort to economise on overhead expendi- Group ture steps were also taken to combine the Group's administration wit h that of the Aldeburgh Festival. 57

The Turn of the Screw was given seven performances at Stratford , Ontario, during the Group's first visit to the American continent, and three further performances were presented, two months later, at the Berlin Festival. Benjamin Britten's earlier opera Albert Herring and Lennox Berkeley's Ruth were revived for the 1957 Aldeburgh Festival, and the latter opera was subsequently given a studio broadcast by the B .B.C. Ballet The principal event in the Ballet Rambert's year of activity was a visi t Rambert to China. As the first English ballet company to visit that country i t received an enthusiastic welcome at every performance during a tou r lasting nine weeks . The company performed for 25 weeks in England an d visited the Taw and Torridge Festival, Sadler's Wells, as well as Scotlan d for its annual four-week tour . New productions were Andree Howard's Conte Fantastique, scenery by Malcolm Pride, music by Andre Caplat, and Mirror, choreography by Ronald Yerrell, music by Lars Erik Larsen and costumes by Disley Jones . The company also gave its first full production of Coppelia with costumes by Doboujinsky. Intimate Ninety-two performances were given for music clubs, at festivals and Opera in schools. The repertoire consisted of the masque in Timon of Athens and Don Quixote by Purcell, Pergolesi's The Music Master and Every Maid her own Mistress, together with The Cooper by Arne and the popular Three's Company by Antony Hopkins, who continues as the Society's Musical Director . The two last-named works were presented for a Christmas season at the Lyric Theatre, Hammersmith . Opera for All In spite of the influenza epidemic, which caused three cancellations, th e Opera for All Group in its ninth season gave 91 performances during a tour of 22 weeks ; their 700th performance was at Newton Aycliffe on February 24th, 1958. The new production, La Traviata, proved very popular and was given on 35 occasions. It will again be included in the repertoir e for 1958-59, together with Cosi fan Tutte, a revival, which was played 101 times from 1952 to 1956, The Barber of Seville and The Beggar's Opera in E. J. Dent's edition . Last winter's tour was particularly inclement and the Group wer e dogged by illness. Tribute is due to each of the nine members who combine not only to maintain the high artistic standard expected, but cheerfull y carry out all the tasks which fall on a small self-contained compan y travelling without assistant stage managers or drivers, who are themselve s responsible for wardrobe, packing, setting up and striking for the nine performances planned during each fortnight of the tour . 58

The artistic and musical direction of the Group remains in the hand s of Mr. Douglas Craig and Mr . Bryan Balkwill who visit them whils t on tour as well as being in charge of the five-week rehearsal period. Mr. Richard Doubleday, Assistant Producer of the Glyndebourn e Festival Opera, will again be the Group's Manager and Stage Director . Offers of financial assistance were made to some 20 amateur opera Amateur societies in England. Opera The operas were staged for two or more nights, up to six, and most of Societies the choices showed considerable enterprise. University College London Music Society staged Der Wildschutz in their gymnasium ; iri St. Pancras Town Hall performances of Ruslan and Ludmilla were presented by the Philopera Circle, of Theodora by the Handel Opera Society, of the ballad - opera Lord Bateman by the English Folk Dance and Song Society, and o f Idomeneo by the Impresario Society. The last three took place during th e annual Arts Festival arranged by the Borough of St . Pancras. Of the 14 provincial societies which were supported, some chose familiar works, others went well off the beaten track ; there were three productions o f Faust and one each of Cavalleria Rusticana and I Pagliacci, The Bartered Bride and The Marriage of Figaro . The Magic Flute was given at Exeter, Martha at Leeds, Nabucco at Hebburn, Rienzi at Birmingham, Savitri and A Dinner Engagement at Bath, The Conspirators and Down in the Valley at Bristol, Prima Donna and Lord Byron's Love Letter at Orpington, and Ernani at Oxford. The latter, under Professor Westrup's direction, was a success financially as well as artistically, and no call was made on th e guarantee against loss which had been arranged .

59 7

POETRY

Festivals In 1957 there were interesting developments in a number of the festival s in which the Arts Council is interested and where poetry plays an important part. At the fourth Festival of Poetry, Hall's Croft, Stratford-upon-Avo n (July 14th-September 8th) a special exhibition was arranged by the Director, John Carroll, with the title `Twenty-five Years of Englis h Poetry : 1920-1945'. The poets represented ranged from Thomas Hard y to Dylan Thomas ; and the exhibits included manuscripts, typed and corrected drafts of poems, and a number of valuable first editions . The exhibition was opened by Christopher Hassall, who said :- `I think it safe to claim that there's no other Festival in the country quite like this one. Because of the importance it has always attached to the wor k of living writers, it is itself gradually becoming of significance in th e literary scene. And the longer it lasts, the more its continuance is take n for granted, the more will its value increase . Its effect must be cumulative . With the passage of time it will acquire authority, as already-with its visits from successive "Poets of the Year"-it has begun to establis h a tradition all its own.' The innovation of holding such an exhibition was much appreciated, no t only by those attending the Sunday evening readings, but also by visitor s to Hall's Croft during the week. The `Poet of the Year' was John Betjeman ; an illustrated talk was given by John Lehmann on the `Poet s of the Thirties' ; and several of the readers were drawn from the company at the Shakespeare Memorial Theatre . At Cheltenham, a combined Festival of Art and Literature was held fro m September 23rd to October 4th. The exhibitions of painting and th e open-air Sculpture Exhibition in the Imperial Gardens proved a welcom e addition to the programme of evening talks and discussions in the Tow n Hall; and the Festival was given a special bias towards poetry throug h the munificence of Messrs. Guinness who put up three prizes (of £75, £50 and £25) for English poems that had not previously been published . The prize-winners were Paul Dehn, Randolph Stow and Laurence 60 Whistler. It is hoped that this competition will become a regular feature of the Festival in future years. The English Festival of Spoken Poetry, held at Bedford College , University of London (July 23rd-26th), contained the usual contests fo r solo and choral verse speaking . A special point was made of having ope n discussion on some of the poems ; and one of the evenings was devote d to a lecture by C. Day Lewis on `The Thirties in Retrospect' . The Sixth Little Festival of Poetry, Cley-next-to-the-Sea (June 12th-16th), included a talk with readings by L . A. G. Strong, and a special pilgrimage to Cambridge in connection with `Cambridge and the Poets' . On October 30th Dame Peggy Ashcroft gave a recital at the Arts Council Readings headquarters, with Angus Morrison at the piano . The programme, which had been specially devised to illustrate `Aspects of Women', ranged fro m the medieval lyric `I Sing of a Maiden' to T . S . Eliot's Portrait of a Lady , and was notable for Dame Peggy's splendid reading of Chaucer's The Wife of Bath's Prologue . Interesting contrast was provided by a programme of Contemporary Poems in Scots, chosen and introduced by Norman MacCaig, and rea d by Moultrie R. Kelsall and James McKechnie at 4 St. James's Square on September 25th . As Norman MacCaig wrote in his foreword, th e language used in these poems `is Scots drawn from all the possible source s and used in varying degrees of density . . . . This language is no more artificial, and no less, than the language of any other poetry' . The Arts Council also promoted a fortnight's tour of the Midlands and the North-East by Margaret Rawlings and John Laurie . The pro- gramme, which included Border ballads, dramatic monologues, satiric verse and a substantial group of poems by Gerard Manley Hopkins , was warmly welcomed by large audiences in Wolverhampton, Stafford , Dudley, Loughborough, Kettering, Leicester, Newcastle upon Tyne, West Hartlepool, Leeds, Hull, Scarborough and York . During the year the Council continued its series of special readings a t 4 St. James's Square, intended to provide opportunities for readers with limited experience of reading poetry in public to take part in recitals before an invited audience. The names of readers are submitted by the Drama, Features and Talks Departments of the B .B.C., the Apollo Society, The Central School of Speech and Drama, the Guildhall Schoo l of Music and Drama, the London Academy of Music and Dramatic Art , the Poetry Society, the Rose Bruford Training College, the Royal Academy of Dramatic Art and the Society of Barrow Poets . The readers 61 undoubtedly welcome the opportunity provided by these readings o f widening their experience ; and the audience seems to derive enjoymen t and profit from them. The `Aspects of Women' programme that Dame Peggy Ashcroft ha d launched at her Arts Council recital was repeated (with slight changes ) under the aegis of the Apollo Society at Rome, and also at The Hague as part of the British-Dutch Festival. At home, the Apollo Society continued its series of performances in the Recital Room of the Royal Festival Hall , and scored a special success with a recital at which T . S. Eliot's Four Quartets were given with Bartok's Fourth String Quartet in the same programme.

8

SCOTLAND

The Scottish Committee's grant for the financial year 1957/58 was £82,176-an increase of just over £4,000 on the previous year. It will be seen from the accounts in Appendix B that the larger portion of thi s grant was, as usual, spent on the indirect provision of the arts-that i s on grants and guarantees to such independent organisations as th e Scottish National Orchestra, the Repertory Theatres, the Edinburg h Festival Society, the National Federation of Music Societies and certai n Arts Clubs. But a considerable sum was again spent on `Direct Provision' , the system whereby the Scottish Committee itself undertakes full artisti c and financial responsibility for individual performances of music, drama , ballet and opera as well as for exhibitions of pictures and sculpture .

DIRECT PROVISION OF THE ART S The direct provision of art exhibitions is dealt with in a later sectio n on the visual arts ; we are concerned here with those groups of musicians, actors and dancers which the Scottish Committee sends out to tour the country giving concerts and theatrical performances of various kinds . The public which must be so served in Scotland lives mainly in a larg e number of small and scattered communities, separated from each othe r by mountains, rivers, lochs and inlets of the sea . Travel is difficult and expensive, frequently involving, in a single tour, train, motor coach, boat 62 and aeroplane . Faced with such problems, even the most enthusiasti c local committee, if left to its own devices, might well give up the unequa l struggle ; while Orkney, Shetland and Stornoway (normally approached by air) would soon be deprived of all professional music and drama . A flexible central organisation is the only answer to the Scottis h problem, and direct provision enables the Scottish Committee not only to shoulder the financial risk if bad weather or illness depletes the audience, but also to arrange the tours so that all parts of the country an d the islands are covered . Every artistically minded community is given the opportunity of expressing its particular wish and every effort is mad e to give each club a well-balanced programme . After an exceptionally successful season in 1956/57, when audience s reached a higher peak than ever before, the 1957/58 season began unde r the shadow of the tragic death of Dennis Brain only three weeks before his orchestra was to have embarked on its first Scottish tour and whos e return to Scotland after his triumphant visit with the Brain-Pougnet- Parry Trio had been most warmly anticipated. Then, on a different plane but nevertheless disturbing, came the first wave of the influenz a epidemic which played havoc with audiences everywhere, and which s o depleted the cast of the New Scottish Touring Theatre that two perform- ances had to be cancelled at short notice. This first epidemic was followed by patches of weather of extreme severity which brought in its trai n further influenza, though this was fortunately not quite so far-reaching in its effects on artists and audiences. Despite this difficult background certain tours had extraordinarily goo d Directly results, one of the most outstanding examples being the Ballet Ramber t Provided which, in a tour of four weeks, played to a total audience of 11,156 Ballet (nearly 3,000 more than last year) with an average audience of 429 . Their visits, which, with the exception of one week at the Perth Repertory Theatre and two nights at Inverness, consisted entirely of one-nigh t stands, took place during a particularly bitter spell of weather . Ballets performed included Swan Lake (Act Il), Les Sylphides, Death and th e Maiden, Judgement of Paris, FaVade and Plaisance ; at Perth Giselle and Gala Performance were also given. Another tour which achieved excellent results was `Opera for All ' Directly whose 16 performances were seen by nearly 4,000 people . Opera audiences Provided this year achieved the record high level of almost 6,000, taking int o Opera account the Intimate Opera Company, which included Orkney, Shetlan d and Tobermory in its itinerary . `Opera for All' offered a choice of The 63

Marriage of Figaro, La Traviata and Don Pasquale; Intimate Opera presented a programme consisting of The Bachelor's Bond (Offenbach) , The Grenadier (Dibdin) and Every Maid Her Own Mistress (Pergolesi). Directly Operatic excerpts were also heard by audiences at performances give n Provided by the Saltire Singers, who this year brought two new programmes Music -,Folk-Songs from Many Lands' and `Music of Scotland'-as well a s their usual madrigals and quartets. Another original entertainment was given by Constance Carrodus and Winifred Radford who, after a year's absence, returned to Scotland in `City and Countryside', a programme i n costume of Restoration and Victorian songs and verse, as well a s folk-songs. Three tours of chamber music ensembles were arranged and, although attendances were somewhat lower than last season, reports received indicate clearly that this was due not to loss of enthusiasm but to th e two haunting demons of influenza and bad weather . Musica da Camera, whose repertoire included Mozart's Quartet for Flute and Strings and the Piano Quartets in C minor and A major by Faure and Brahms respec- tively, toured for a week in February ; the Court Ensemble (in November) brought an interesting, mainly eighteenth-century programme ; and the season was rounded off by the Camden Trio in an unusual programme ranging from Mozart to Poulenc . An interesting feature of the `mixed' concerts (which consist mainly of artists resident in Scotland) has been the increasing demand for thes e to venture further into the realm of Chamber Music as the term i s normally understood . Such works as the Cesar Franck Sonata for Violi n and Piano, the Telemann Sonata for Flute and Violin, Elgar's arrange- ment of his Concerto for Cello and Orchestra, Beethoven's `Spring' Sonata, and numerous piano trios have been enjoyed by audiences i n various parts of the country. This account of directly provided music should not omit mention of a piano recital given by Denis Matthews who kindly stood in, at very shor t notice, for Dennis Brain at Helensburgh . Directly As mentioned above, the first of the drama tours, the New Scottish Provided Touring Theatre, in a double bill consisting of village Wooing, by Bernard Drama Shaw, and Miles Malleson's translation of Moliere's Sganarelle, went out when the first influenza epidemic was at its peak . It opened in Stornoway where it drew the largest audience so far attained there ; but after this initial success audiences fell off and the average attendance was con- siderably below last year's record . 64 Almost alone on the drama side, the Edinburgh Gateway Company, battling round the Borders in snow and ice, maintained its audiences, and its production of The Wax Doll by Alexander Reid (former winner of the Scottish Committee's Drama Bursary) played to packed houses . The Children's Theatre, whose main tour took place in May, was seen b y nearly 10,000 people, and the audiences for the puppet tours (the Lee Puppet Theatre and the Lanchester Marionettes) passed the 6,000 mark . A number of smaller-scale performances was mounted, including a repeat tour of `Brief Chronicles' and several recitals of ballet and musi c and of poetry and drama . These went, in the main, to the smaller places, although an increasing interest in the spoken word was served by th e inclusion of a verse speaker in many of the mixed concerts .

THE VISUAL ART S The most novel venture in the visual arts which the Committee has Publication of undertaken in the past year has been to sponsor the publication of Original original lithographs by fifteen contemporary Scottish artists . Lithographs A remarkable revival of fine art lithography has taken place in the premises of an old-established firm of Edinburgh lithographers where a number of distinguished artists, both from England and Scotland, have worked during the past eighteen months and have produced original litho- graphs of the highest order . Some of the artists concerned, such as John Piper and Michael Ayrton, are already experienced in lithography, but others, who have attempted this art for the first time, have had remark - able success-undoubtedly due, in part, to the relationship which ha s been established in the firm between their experienced lithographi c craftsmen and the artists ; the latter would be the first to acknowledge the skill of these men-only four in all-and their dependence on thei r guidance. The production of lithographs of this quality is costly and th e Committee's purpose in giving some financial support is to enable th e firm to commission works by some of the younger artists . In return fo r this support the Committee receives one of each of the lithograph s produced and possesses already some 35 to 40 which it is intended to exhibit in the Arts Council's Gallery in Edinburgh during the comin g Festival. Two of the Committee's exhibitions shown first in Edinburgh were Exhibitions subsequently shown in London . The first, a comprehensive exhibitio n of 108 paintings, drawings and miniatures by George Chinnery 1774-1852, 65

many of whose works are in private collections in Scotland, was show n in the National Gallery of Scotland in July. The second, an exhibition of Modern Turkish Painting, was held in the Arts Council's Gallery . Festival His Excellency the Turkish Ambassador opened the exhibition o f Exhibitions Modern Turkish Painting during the Edinburgh Festival ; nearly all the works came direct from Turkey, and before going to London the exhibition visited Glasgow and Aberdeen . Also during the Festival period an exhibition of Paintings.from Gosford House was shown in the National Gallery of Scotland with the suppor t of the Committee ; the paintings were lent by the Earl of Wemyss and March and selected by the Director of the Gallery . An exhibition of Contemporary Scottish Crafts was opened during the Festival by the Secretary of State for Scotland . The exhibition, which was arranged for the Committee by the Scottish Crafts Centre, was shown in a delightful setting in the Old Tolbooth in the Royal Mile and was subsequently toured extensively for nine months . The Arts Council was therefore responsible directly or indirectly for presenting four exhibitions in Edinburgh during the Festival, includin g the Monet exhibition, of which mention is made elsewhere . The Committee's policy of working where possible with existing ar t bodies is exemplified in their collaboration with the Scottish Craft Centre ; other examples are the support given to the Society of Scottis h Artists in arranging a Jack Yeats exhibition, and to the Scottish Society of Women Artists in bringing an exhibition from Canada of the work of Emily Carr. New Gallery It has proved invaluable to the Committee to have a gallery, howeve r in Greenock small, in Edinburgh permanently at their disposal . Outside the larger cities exhibitions have perforce to be shown in buildings often ill-suite d to the purpose and the Committee look forward to sending many exhibi- tions in the future to the new, well-designed and equipped gallery recently opened in Greenock. The only other gallery to be opened in Scotland since the war is at Gracefield, Dumfries, and great credit i s due to Greenock for having provided a new gallery by purely local effort . Lack of a The problem of a Gallery of Modern Art in Edinburgh is still unsolve d Gallery of and the Committee wish to record their indebtedness to the Trustees o f Modern Art the National Gallery of Scotland and the Council of the Royal Scottis h Academy for putting at their disposal for the tenth successive year th e Diploma Galleries of the Royal Scottish Academy. This year the oppor- tunity was taken of showing the larger part of the Arts Council Collection , 66 none of which had been previously exhibited in Edinburgh. The exhibition was opened by Sir Kenneth Clark, K .C.B., in January and attracted much attention, particularly the examples of the most recent developments in painting such as `tachism', which had scarcely been seen in Scotland . Twenty programmes of films on art and twenty lectures and demon- Art Films stration lectures, apart from the usual `guide-lecturing' service, were and Lectures arranged. Demonstration lectures, where an artist paints in oils or water- colours or models in clay, often using a member of the audience as a `sitter', always attract large audiences. A `demonstration' of this kind put s great demands on the artist concerned and it is remarkable how many o f them can and do face up to the strain of working in front of an audience , often at great speed and giving at the same time an explanatory runnin g commentary. Apart from the support given to the lithograph scheme the Committee Purchases purchased ten paintings and drawings by living Scottish artists durin g the year. Since the Committee's purchasing policy began in 1951 they have bought 110 paintings and drawings by contemporary Scottis h artists, as well as one bronze bust ; they have also commissioned a tapestry and a large stone carving . The collection is truly representative of the last twenty-five years or so of Scottish painting and, if a moder n gallery ever comes into being in Edinburgh, this collection might well form a valuable section of it .

MUSIC Under its new conductor, Hans Swarowsky, the Scottish National Scottish Orchestra had a most successful season. Mr. Swarowsky took over the National conductorship in August 1957 from Karl Rankl who, after five years' Orchestra intensive work with the Orchestra, left to take up the post of conductor at the new opera house in Sydney, Australia . During the year over 200 concerts were given including a number of engagements by chora l societies and amateur opera groups. At the 1957 Edinburgh Festival the Orchestra accompanied all the performances of the Grand Ballet du Marquis de Cuevas as well as giving two concerts in the Usher Hall . A substantial rise in orchestral players' salaries as well as other in- creasing costs of promotion made it necessary for the Scottish Committee to increase its grant to the Orchestra from £19,000 in the previous year t o £20,500 ; this is the largest subsidy given by the Committee to any of its associated bodies and reflects the Committee's view of the value and importance of the Orchestra's work throughout Scotland . 67

National As in previous years a block grant was allocated to the Scottish Com - Federation of mittee of the National Federation of Music Societies for disbursement to Music Societies its member societies in the form of limited guarantees against loss . Of the 39 societies receiving these guarantees 20 were amateur choral societies ; these gave 38 concerts, including ten performances of Messiah . Four societies celebrated Elgar's centenary with performances of The Dream of Gerontius, and the St. Matthew Passion and The Creation were each given twice. During the season no less than 66 chamber music concerts were give n by the 14 music clubs receiving help from the Committee. Continuing its policy of previous years the Committee made a special grant of £10 fo r each string quartet engaged ; this resulted in 19 such engagements. In addition five amateur orchestral societies gave a total of nine concerts o f works of the eighteenth and nineteenth centuries . (See pp. 51 and 52.) Other Help was also given to a number of individual concert societies ; these Concert included the Dunedin Society for a series of concerts by the Eric Robert s Societies String Orchestra, the Edinburgh Lunch-Hour Concerts in the National Gallery of Scotland, a series of organ recitals in Edinburgh and Glasgow , and some of the smaller choral societies which are not at present members of the Federation.

OPERA AND BALLE T The Sadler's Wells Opera paid a four weeks' visit to Scotland in April with a repertoire of popular operas . The company appeared for a week in each of the following cities : Aberdeen, Dundee, Edinburgh and Glasgow . The Royal Ballet (formerly The Sadler's Wells Theatre Ballet) also visited Edinburgh, Glasgow and Aberdeen during the year. Other professional opera and ballet companies appearing in Scotland were the Ballet Rambert, the Intimate Opera Company and the Art s Council's `Opera for All' Group ; reference to these has already been made in the section on direct provision of the arts . Amateur Two amateur opera societies were given financial assistance towards Opera the cost of engaging professional musicians in order to improve the standard of their performances . The Glasgow Grand Opera Society, accompanied by the Scottish National Orchestra, presented Rimsky - Korsakov's The Snow-Maiden and Verdi's The Masked Ball for one week in the King's Theatre, Glasgow ; at the Usher Hall in Edinburgh Verdi' s Nabucco and Wallace's Maritana were also given for a week by th e Edinburgh Opera Company. 68

DRAM A The Edinburgh Gateway Company enjoyed its most successful Repertory season in the five years of its existence. The season made an auspicious Theatres : beginning with a Festival production of Robert McLellan's The Flouers Edinburgh O' Edinburgh which drew packed houses throughout its four weeks' run . Other Scottish authors whose plays were presented during the season (some for the first time) were Robert Kemp, Moray McLaren, Alexande r Reid and R . J. B. Sellar. As well as specialising in plays by Scottish authors the Gateway Com- pany has, from time to time, brought to its audiences important play s from other countries; for example, Ibsen's The Wild Duck was staged just before Christmas and, as a result of this experience, the Compan y has resolved to specialise in Ibsen, on the ground of the affinity betwee n Scotland and Norway and that nowhere in Britain does any theatre pay special attention to this master dramatist . Perth Theatre's repertory season from August 26th, 1957, to the end of Perth March 1958 was financially slightly better than between the same date s in the previous year ; this was due largely to the new system of touring adopted, by which every second week one or other of the two companie s visits Brechin, Forfar and Arbroath for one night each and plays for the three remaining nights of the week in either Kirkcaldy or Dunfermline . This arrangement has yielded better results than playing for a full seaso n in Perth and Kirkcaldy alone . Among the more interesting productions during the season wer e Teahouse of the August Moon, The Rainmaker, Hamlet, Romanoff an d Juliet, The Diary of Anne Frank and Look Back in Anger ; two new plays were given their first performances-Blood Upon the Rose, by George Scot t Moncrieff, and The Homecoming, by Bessie Love. During the summer the two companies once again toured the Highlands and the Borders, visiting 50 places in eight weeks, and in March a tour of Orkney and Shetlan d played to full houses every night . The Dundee Repertory Theatre, after its near-disaster of the previous Dundee season, enjoyed a remarkable recovery in the year under review . During the summer the management underwent considerable reorganisation an d when the theatre reopened in August they were rewarded by much large r audiences ; these were retained until after Christmas, though there was the usual slight falling-off in the early months of the ne w year. The theatre's finances now appear to be on a reasonably soun d basis. 69

Among the notable productions of the year were As You Like It, Romanoff and Juliet and a remarkably successful presentation of The Rivals in modern dress . Three new plays by Scottish authors were give n their first performances ; these were Jonah's Ark, by Phyl Stevens, Broom- stick over Badenoch, by Iain Crawford, and The Tulip Major, by Rosamunde Pilcher and George Hasler . Glasgow In Glasgow the Citizens' Theatre also undertook a reorganisation of it s financial arrangements, achieving thereby a considerable saving in their weekly expenditure. In the spring and early summer of 1957 the followin g authors were represented : Charles Morgan, J. B. Priestley (premiere), Sean O'Casey, James Bridie and Peter Ustinov ; of these five only the Bridie play (Dr. Angelus) did good business, though a fine production o f O'Casey's The Plough and the Stars deserved a better response from th e public than it received . The Citizens' autumn season opened with an experiment ; Arthur Miller's censored play A View from the Bridge was put on for members of the Citizens' Theatre Society and was highly successful, the Society gaining a large increase in its membership . After this initial production fo r Society members only, the theatre reverted to its normal fortnightly seaso n for the general public. It seems likely that this experiment will be repeated in the autumn of 1958 . For their Christmas show the Citizens' reverted to their old policy o f producing a `home-made' topical revue which delighted Clydeside theatregoers for eight weeks ; apart from this the only other plays t o achieve real box-office success were Twelfth Night and Look Back in Anger. It is worth noting, however, that the English Stage Society ha s invited the Citizens' company to appear this summer at the Royal Court Theatre, London, in a production of Gay Landscape by the Glasgow playwright, George Munro . Federation of The interchange of productions planned by these four theatres to tak e Scottish place in November 1957 had to be postponed on account of variou s Repertory administrative difficulties which arose at the time, but it is now virtually Theatres certain that this `Festival of Scottish Repertory' will take place i n November 1958 . Each company will perform the `Festival' play for on e week in its own home theatre and then take it for a week to each of th e other three theatres in turn ; the programme has yet to be decided, but it i s expected that there will be at least two Scottish plays in the scheme . It will be interesting to see what kind of impact this imaginative proposal wil l make on the theatregoing public. 70 The seventh Pitlochry Festival was held from April 20th to October 5th, Pitlochry presenting six plays in repertory . These were the stage premi6re of R . F. Drama Festival Delderfield's The Mayerling Affair, James Bridie's The Last Trump, Synge's The Playboy of the Western World, Michael MacLiammoir's Where Stars Walk and two popular revivals, Rookery Nook and Mr. Kettle and Mrs. Moon. As usual the popular comedies attracted th e large holiday audiences, though it was satisfactory to note that the first three plays mentioned were well attended . The season was badly hit at the opening by the Suez petrol rationing , and the Festival Society suffered the grievous loss of its founder an d artistic director, John Stewart, who died suddenly after a brief illness i n May. In spite of these setbacks, admissions increased from 49,000 t o 52,400 and the small deficit on the season of £372 was met in full by th e Scottish Committee under its guarantee. The Committee's Award for Achievement in the Theatre is to be pre- Awards sented to Mr. James Gibson in recognition of his services to the theatre i n Scotland throughout a long and distinguished career. The Award, which has again been designed and executed by Mr . Walter Pritchard, takes the form of a trophy made of beaten copper and brass and consists of th e masks of Comedy and Tragedy on either side of the Scottish thistle , enclosed by a wreath of laurel . Previous recipients have been Miss Lenno x Milne in 1954, Mr. Duncan Macrae in 1955 and Perth Repertory Company in 1957 . No award was made for the year 1957/58 under the bursary scheme for Travel Grants promising Scottish dramatists . The Committee decided instead to awar d part of the money set aside for this purpose in the form of travel grant s to producers, scenic designers and other suitable persons working in th e Scottish Theatre, in order that they might increase their knowledge of th e theatre by seeing the creative work of producers and designers in England and other countries abroad . One such grant has already been made to Miss Lennox Milne, Director of Productions for the Edinburgh Gatewa y Company, and further awards are under consideration .

POETRY Two poetry competitions were held during the year . A prize of £50 was Poetry offered for a lyric poem in Scots or English, not exceeding 24 lines. From Competitions the 225 entries received the panel of judges chose three poems as deserving awards ; the winner, Mona Paterson, received a prize of £30 for her poem in Scots, On a Still-born Child; the two runners-up-John Henderson' s 71

Sown and Alice V. Stuart's The Challenge-were awarded £10 each . The judges were Sir John McEwen of Marchmont, Bart. (Chairman), Pro- fessor Sir Alexander Gray, Mr . Robert Kemp and Mr. Douglas Young. A further £50 was offered for a Gaelic poem of not less than 100 lines . The nine entries received are in the hands of An Commun Gaidhealach , whose panel of judges had not reached a decision at the time of goin g to press. Poetry At the end of March 1958 a reading of Scots poetry was given i n Readings Edinburgh by Tom Fleming, Ian Gilmour and Meta Forrest, the poems chosen and introduced by Norman MacCaig. The programme range d from the fifteenth century to the present day and included poems by Henryson, Dunbar, Burns, MacDiarmid and Goodsir Smith as well as a number of the less familiar ballads. The reading was repeated in Glasgow and Aberdeen and proved ex- tremely popular. An audience of over 200 filled the University Theatre in Edinburgh, and many latecomers had to be turned away; in Glasgow over 400 people attended the recital .

EDINBURGH FESTIVA L The high standard of performance at the Eleventh Edinburgh Inter- national Festival did much to justify the organisers' belief that it is the leading artistic event of its kind in the world. The outstanding attraction was the opera season presented by La Piccola Scala, Milan ; the operas produced were Bellini's La Sonnambula with Maria Meneghini Callas in the title role, Donizetti's L'Elisir d'Amore, Rossini's 11 Turco in Italia, and Cimarosa's 11 Matrimonio Segreto. The drama season included visits from the Compagnie Renauld- Barrault in Anouilh's La Repetition and from the English Stage Compan y in Nekrassov by Jean-Paul Sartre . Other plays presented were Hasenclever' s Man of Distinction, Jonathan Griffin's verse-drama The Hidden King and Robert McLellan's Scots comedy The Flouers O' Edinburgh. Visiting orchestras included the Concertgebouw, the Halle, the Philharmonia an d the Bavarian Radio Symphony Orchestra, and many world-famou s soloists and ensembles also took part . Ballet was represented by the Swedish Royal Ballet, Les Ballets Africains de Keita Fodeba and th e Grand Ballet du Marquis de Cuevas. An exhibition of paintings by Claude Monet, sponsored by the Societ y and arranged by the Arts Council in association with the Governors o f 72

the Royal Scottish Academy, was held in the Royal Scottish Academy , and attracted nearly 50,000 visitors . The Festival included a new venture-the presentation of a late nigh t entertainment ; Anna Russell gave seven performances of `Satire an d Song' and all attracted capacity audiences. The continued rise in costs, coupled with a static income, is causin g real concern to the Society, and, if the Festival is to maintain its high standard, there must be a substantial increase in the Society's income . Efforts are being made to secure the future of the event.

NOTES OF THE YEA R On December 31st, 1957, Sir George McGlashan, C .B.E., retired from Chairman of the Scottish Committee after serving as Chairman for six years . He was Scottish succeeded by Sir John McEwen of Marchmont, Bart . Committee Mr. Ian Finlay retired from the Committee after serving since January Membership 1st, 1947. During most of this period he had given invaluable help as of Committee Convener of the Art Sub-Committee . Three new members were appointed to the Committee on January 1st , 1958 ; they are Mr. Charles Carter, Mr. Charles Graves and Mrs. Eric Linklater. The special Committee set up to survey the `Housing of the Arts' in Housing the Scotland completed its task in November 1957. It is hoped that its findings Arts will be incorporated in the comprehensive report which the Arts Council will submit to the Chancellor of the Exchequer early next year .

73 9

WALE S

Finance The Welsh Committee received a grant of £42,910 from the Arts Counci l in 1957/58, the distribution of which is shown in the Committee's accounts in Appendix C. This sum includes a supplementary grant of £4,000 provided by the Council for the Welsh National Opera Company Ltd . as the original provision made by the Committee was not sufficient to mee t the rising cost of productions of the quality and scale presented by thi s Company. The total expenditure on the arts in the year under review wa s £36,234-an increase of approximately £9,914 over that in 1956/57 . General The year 1957/58 presented its own challenge to those concerned wit h the arts in Wales . Promoting organisations were faced with rising cost s for everything that they planned to do. Added to this was the powerful attraction of television programmes which could be seen in the comfor t of the home without trudging abroad to seek refreshment and entertain- ment in concert halls, theatres and art galleries . The challenge was wel l met and with the exception of the Committee's autumn and spring dram a tours no disasters occurred. Festivals, opera, music club concerts , orchestral concerts and art exhibitions were well attended and all organisa- tions supported by the Welsh Committee balanced their budgets . Drama alone suffered, and it is difficult so far to say why. Asian 'flu certainly contributed to the poor results of the autumn tour ; the weather and the new I.T.V. transmitter which opened in January may well have affected the tour undertaken in February. However, it is interesting to note that none of these factors appreciably affected the support for orchestral, clu b and choral concerts, opera and the visual arts . Over the past ten years some 20 professional drama companies have been assembled to tour the theatreless centres of Wales, presenting play s ranging from Shakespeare's to those by contemporary playwrights . With the exception of the two latest, these companies have on the whole bee n well supported. The results of the last two tours, however, leave doubts in the minds of the Committee whether this part of their activities i s justified. The Committee can best assess the value of these tours to th e communities they are intended to serve by noting the percentage of 74 attendance at the theatres where their companies perform. The average attendances for the autumn and spring tours in 1957/58 were 57 per cen t and 29 per cent respectively . The high cost of producing the arts and making them accessible in al l parts of the country requires state and municipal subsidies-but thes e subsidies are justified only if the public in their turn demonstrate their interest in the arts by supporting them when they are made available . The arts cannot survive on subsidies alone. The most powerful incentive for their creators and producers is the interest, appreciation and criticism of their audience . Apathy and indifference are more inhibiting than lack of finance; eliminate these and financial problems are automatically eased . Was it apathy and indifference about good theatre which accounted fo r the poor results of the Committee's last two drama tours? Or was it th e impact of the factors already mentioned? It is difficult to believe that th e money, time, energy and talents expended in Wales during the last te n years have not created a big enough audience to justify these tours . Producers, designers, players and stage staff have given of their bes t efforts while working under extremely difficult conditions. Above all, the ingenuity of the Arts Council's designers deserves special commendatio n for devising as they did sets which look well on a stage of proper propor- tions, while at the same time being flexible enough to squeeze on to stage s of such minuteness as to provide playing space of the size of a postage stamp ! Do television drama programmes satisfy so many of those in Wales residing in the theatreless centres normally visited by the Committee' s touring companies? If so, are these tours no longer wanted in Wales ? That question will be nearer an answer when the results of the 1958 autumn tour (already planned) are known . These results will undoubtedly influence the Committee's decision with regard to the future of thi s activity. In last year's Report reference was made to the dismal record in Wales Commercial of commercial enterprise in the arts . Therefore tribute is due at this time Enterprise to the enterprise which rescued the Prince of Wales Theatre, Cardiff, fro m oblivion. The new management decorated, refurbished and adapted the building to provide not only a theatre but clubrooms of charm an d distinction and the premises have now become an important social an d cultural centre in the city. The Welsh office has helped to spread informa- tion about this theatre throughout Wales in the hope of increasin g support for it . 75

Another commercial venture deserves mention . That is the small art gallery run in St. Mary Street, Cardiff, by Howard Roberts and whic h has proved of great value to Welsh contemporary artists . One-man and group exhibitions can now be shown there . The following paragraphs give an account of the many and varied activities undertaken by the Welsh Committee in 1957/58 . Opera The difficulties of financing British opera have already been much discussed in the press and as far as this Report is concerned it suffice s to record that the Welsh National Opera Company Ltd ., despite the sense of frustration felt by its Board, presented seasons of opera in Cardiff , London, Llandudno and Swansea with the support of the Welsh Com- mittee. For these seasons the Company included an opera new in thei r repertoire, Boito's Mefrstofele, produced by George Foa, with sets and costumes designed by Julia Trevelyan Oman . The part of Mefistofele was sung by Raimund Herincx who has since become a member of th e Sadler's Wells Company. The union of the Welsh National Opera Company with the Bourne - mouth Symphony Orchestra continued to be a happy one . The collabora- tion of these two' fine bodies of musicians over the past six years ha s resulted to a remarkable degree in establishing an affinity between the m which is apparent in their performances together . The conductors in charge of the 1957/58 seasons and who contributed so much to their success were Charles Groves, Warwick Braithwaite and Ivor John. Grants were received by the Company from the counties of Glamorgan, Monmouth and Carmarthen, and the Cardiff and Swansea Corporations . Directly The Welsh Committee, concerned by the infrequency with which th e Managed best orchestras can be heard in the greater part of Wales, presented a serie s Orchestral of seven concerts by the Philomusica Orchestra under its director , Concerts Thurston Dart, with Helen Watts and Norma Procter as soloists . The first concert was given in Llandaff Cathedral and it is likely that everyone i n that great congregation will look back on that occasion as a memorabl e one. The cathedral restored from the ravages of the war, the mello w lights lending a soft mystery to the suspended figure of Epstein' s `Majestas,' and the inspired performance of the orchestra and soloist provided an evening of aesthetic pleasure, rare even in these days . The other six concerts were given at Porthcawl, Haverfordwest, Bangor , Criccieth, Rhyl and Wrexham, and with the exception of Porthcawl they were well supported. 76 The Halle Orchestra with Sir John Barbirolli and the Bournemouth Independently Symphony Orchestra with Charles Groves gave concerts in October 1957 Arranged and March 1958 respectively at the Central Hall, Newport, with the sup- Concerts- Arts Council Pport of the Newport Borough Council. The Royal Liverpool Philharmonic Associated Orchestra gave a series of four promenade concerts at the Sophia Gardens Orchestras Pavilion in June with the support of the Cardiff Corporation . The con- ductors were John Pritchard, Meredith Davies, John Hollingsworth and Hugo Rignold . Swansea Corporation sponsored a visit from the Concertgebouw Foreign Orchestra of Amsterdam, conducted by Eduard van Beinum, in Orchestras April 1957 . The Royal Ballet appeared at the New Theatre, Cardiff, in March and Ballet the consensus of opinion was that the performances by the younger section of the company showed more accomplishment, authority an d style than on their previous visits . Four new ballets were included in their repertoire in Cardiff, i.e. A Blue Rose, The Burrow, Veneziana and The Angels. May of each year heralds the festival season in Wales and three Com- Festivals bined Choir Festivals took place in May 1957 . The first of these was arranged by the Welsh Regional Committee of the National Federatio n of Music Societies for those choirs of West Wales which are affiliated to the Federation. The work performed was Verdi's Requiem with the B .B.C. Welsh Orchestra ; George Weldon was the conductor . The second was the now-famous Montgomery County Musical Festival at Newtown an d the combined choirs taking part, especially coached by Eric Chadwick, gave an excellent performance in the evening of The Dream of Gerontius by Elgar, conducted by Sir John Barbirolli with the Halle Orchestra , while an orchestral concert was given in the afternoon of the Festival . The third of the series was the Dee and Clwyd Festival of Music at Corwen and included in the works performed was Mozart's Requiem with the Birmingham Symphony Orchestra ; J. Morgan Nicholas was the conductor. The Welsh Committee provided substantial financial assistance fo r these choral activities in the hope (which to some extent is being realised) that they would stimulate an interest among young people in choral singing. A festival occasion providing an opportunity to collaborate with a major orchestra can be not only an incentive to the young to join choirs , but may also lead to better standards of choral singing . The need to prepare for an important occasion is a stimulus in all fields of activity. In June the first Brecknock County Festival of Music was held wit h 77 r

the support of the Welsh Committee, followed in July by the International Eisteddfod in Llangollen which is self-supporting . The Welsh Committee record their appreciation of the facilities afforded them by W . Clayton Russon (a founder-member of the International Eisteddfod) to show a selection of the work of Contemporary Welsh Painters and Sculptors fro m their Collection in Llangollen during this period . The Welsh Committee made a grant to the Royal National Eisteddfod held in Llangefni, Anglesey, in August . It is disappointing to record that the standards of non-competitive major events were not as good as ha d been anticipated. However, there were one or two activities on the fring e of the Eisteddfod of high quality . The Swansea Festival of Music and the Arts presented a week of splendid music at the Brangwyn Hall with the Halle Orchestra ; the conductors were Sir John Barbirolli, George Weldon and Sir Eugene Goossens . This Festival celebrated its tenth birthday in October last and the occasion wa s marked with a presentation to L . G. A. Pinn, the secretary of the Festival since its inception in 1948. Among the works performed during this wee k was the second symphony of Grace Williams, commissioned by the Wels h Committee in 1955 . The Festival received financial support from the Swansea Corporation as well as from the Welsh Committee . Music Club Continuity is an essential part of progress and it is in this respect tha t Concerts the work of the music clubs in all parts of Wales has proved of such value to the community. Great progress has been made in improving standards of taste, and appreciation of instrumental music is more widespread no w than ever before. These are the results of the continuous activities of thes e organisations over the past dozen years in promoting concerts of goo d quality. The clubs have now become an integral part of the cultural and social life of their communities . At the planning conferences arranged annually in February and Marc h by the Welsh Committee's officers in South, West and North Wales, club delegates meet, discuss and in collaboration with each other finally draft out their programmes for the following season, i.e. September to April. After the conferences, the Welsh Committee consider the pro- grammes planned and decide on the amounts to be offered in grants o r guarantees against loss to each club . At the planning conferences in the year under review, 124 concerts were arranged, included in which wer e 23 string quartet concerts which were shared between the Allegri, Wang and Hirsch Quartets, and 15 performances by the Arts Council's `Oper a for All' Group . 78

The Committee made a grant to the National Federation of Music Choral Societies for the benefit of Welsh choirs . These choirs arranged 33 concerts Concerts in the year under review. The Federation's Welsh Regional Committee , under the chairmanship of E . Nicholas, now represents the affiliated choirs of North as well as South Wales. (See pp. 51 and 52.) In 1957 the Welsh Committee held a competition for four musical Music compositions designed to find Welsh composers whose works as yet may Competitions have received little, if any, recognition. The final date of entry for thi s competition was arranged for June 30th, 1958. The Welsh Committee's Collection, numbering 119 works by con- Art temporary Welsh artists, includes paintings, drawings and pieces of sculpture. Seventeen of these works were purchased in the year under review, five of them from the Exhibition of Contemporary Welsh Paintin g and Sculpture, three from the Royal National Eisteddfod, Llangefni , two from the South Wales Group Exhibition, one from the `56 Group' Exhibition, two from the Royal College of Art, three from Londo n exhibitions, and one from the artist's studio . Thirty-five works from the Committee's Collection were exhibited at Exhibitions Llangollen, Tenby, Milford Haven, Carmarthen and Ammanford during arranged by the months of July, August and September . The Committee accepted an the Welsh Committee invitation to show this exhibition at Leek, Staffordshire, and it was opened there in March by Dr . Wyn Griffith. It remained there until the end of the month after which it was shown for a short period at the Welshpool Art Gallery. The Committee's Exhibition of Contemporary Welsh Painting an d Sculpture was opened by Mr . Philip James, C .B .E., in February at the National Museum of Wales, Cardiff ; 720 works were entered for this exhibition, from which 94 paintings and 12 pieces of sculpture were chose n by the selection panel composed of Stephen Bone, Claud Rogers, Julia n Trevelyan and Carel Weight . Before the exhibition closed at the Nationa l Museum, 16 works were purchased by industrial concerns, private individuals and the Welsh Committee. At the end of its showing in the National Museum, the exhibition was sent on the most extensive tour of Wales yet arranged, thus enabling many more people to . see the works of the contemporary Welsh artists represented, and . affording them the opportunity of purchasing such works for their homes or for those long corridors leading to clinically bare boardrooms crying out quite as loudly for the adornment which a painting or a piece of sculpture so handsomel y provides. In short, the Welsh Committee in assuming the entire financia l 79

responsibility for mounting and extending the tour of this exhibition had two aims in mind : (1) to introduce works by contemporary Welsh artist s to a wider public, (2) to stimulate and encourage more patronage fro m Local Authorities, industrial concerns and private individuals for Wels h artists. The Committee was greatly indebted to private collectors and ar t galleries in England, Scotland and Wales for their contribution to th e success of their Daumier, Millet, Courbet Exhibition which was show n in the National Museum, Cardiff, in September and the Glynn Vivia n Gallery, Swansea, in October . Exhibitions Exhibitions organised with the financial support of the Committee were arranged Traditional African Sculpture, arranged by the Committee of the Glyn n with the support of Vivian Gallery, Swansea, and shown also in Cardiff; Pictures for Wels h the Welsh Schools by the Society for Education through Art, and the first exhibitio n Committee by the `56 Group' which was shown in Worcester Art Gallery and then i n Cardiff and Tenby . Art films Two tours of art film shows were arranged in the autumn and spring of 1957/58 and were presented at five schools, six art clubs, three ar t galleries, four colleges and one hospital, making a total of 21 shows i n 18 places. The most popular of the films shown was A Golden Age of Flemish Art . Arts Council Of the 18 Arts Council exhibitions shown in Wales, a list of whic h Exhibitions appears in the Appendix, the one which created the widest interest wa s the first touring exhibition arranged by the Council of Contemporar y British Sculpture and designed for the open air, which was on view in Bute Park, Cardiff, in July and sponsored by the Cardiff Corporation . Poetry The Welsh Committee awarded £100 each to Margiad Evans for her book of English verse, A Candle Ahead, and to Waldo Williams for his volume of Welsh verse, Dail Pren. In addition the Committee arranged recitals of verse and music in Cardiff and Swansea . The music included the first performance of a new string quartet by Daniel Jones, commissioned by the Committee in 1956 , and In Memoriam-Dylan Thomas by Strawinsky, with Gerald English , the Wang String Quartet, and John Ashby, Charles Bryant, Christophe r Devenport and Godfrey Kneller (trombones) . The verse, by Dylan Thomas and Henry Vaughan, was read by Christopher Hassall . Drama: In the autumn of 1957 the Welsh Committee sent out the Arts Council English Company on a six weeks tour of the theatreless centres of Wales . For the Touring first time in the history of these tours the Company presented two plays Companies 80 in repertory, i.e. She Stoops to Conquer by Oliver Goldsmith and Look Back in Anger by John Osborne, produced by Frank Dunlop, with design s by Riette Sturge Moore . In February and March of 1958 another Arts Council company presented Ugo Betti's play The Queen and the Rebels for a five weeks tour of the Principality . This play was produced by Andre van Gyseghem and the designer was Tony Waller. Reference has already been made to the disappointing financial results of these' tours, but the high quality of the productions received many tributes. The Committee undertook the production of Tom Richards' new Welsh Welsh play Y Cymro Cyffredin. After some vicissitudes the first and second Company performances were given at the Palace Theatre, Swansea, after which the company appeared in Carmarthen, Brynamman, Cardiff and Aberdare . This comedy, written in satirical vein designed to emphasise the valu e which the main character attaches to his plain and uncomplicated life , was an immense success . The company responded wholeheartedly to Emlyn James' expert direction, and the Committee record their apprecia- tion of the work of all those concerned with this production, includin g the designer, David Tinker. The Swansea Welsh Drama Association have for many years encourage d Welsh playwrights by organising annually a week of Welsh plays . They are not always successful in finding three new Welsh plays of quality and fo r this reason a good play in a Welsh translation is sometimes included i n their programme. In their 1957/58 Festival the three plays presented at the Grand Theatre, Swansea, were Ein Pentre Ni, a translation of Thornto n Wilder's Our Town, Porth Ewyn by John Ellis Williams and TywyddMawr by Gwynfor. Our Town appears to play better in Welsh than in English , and the production was a good one for many reasons, including a movin g and excellent performance by Margaret John as `Emily' . This Festival was given with the financial support of the Welsh Committee, who i n addition provided the Association with a grant towards the costs o f acquiring a workshop and scenery store . The Theatr Fach at Llangefni is a model of what a little theatre shoul d be. The Llangefni Drama Society, led by F. G. Fisher, has provided a distinguished Little Theatre for Anglesey . The Committee provided a grant to the Society for their 1957/58 programme of Welsh and English plays. The Welsh Committee, at the request of the Arts Council, has set up a Cultural committee to enquire into the needs of Wales for buildings for `Housing Buildings the Arts'. The members are : Robert E. Presswood (Chairman), S . Kenneth 81 '

Davies, Alex Gordon, Nesta Howe, H . Wyn Jones, T. Mervyn Jones, Mary Lewis, W. Clayton Russon and Alun Llywelyn Williams . This committee met for the first time in May 1957, and altogether has held 11 meetings. Good progress has been made with the enquiry and al l organisations concerned with the arts, including Welsh Local Government Authorities, have been consulted. The committee hopes to complete its work in the early part of 1959 and to deliver a report which will be incorporated with those prepared by England and Scotland . Welsh Members of the Welsh Committee due to retire on December 31st, Committee 1957, were Mrs. D. R. Prosser, Aneirin Talfan Davies, Professor Idris Ll. Foster and Emlyn Williams . Those due to retire on the same date but reappointed for a further period of service from January 1st, 1958, wer e S. Kenneth Davies, Dr. Dilwyn John, Dr. Thomas Parry and Cer i Richards. New members appointed were Dr. Daniel Jones and Alun Llywelyn Williams . The Welsh Committee express their warm apprecia- tion of the services of past members and in particular those of Sir Wynn P . Wheldon who retired before his last period of office was completed . His wise counsel and statesmanlike grasp of affairs are a loss to any committee concerned with Welsh public affairs. Welsh Office Miss Nesta Howe, who had been a member of the Welsh office staff since 1945, resigned her post as drama assistant in August 1957 . Miss Howe had grown up with the Welsh office and her ability and resourceful- ness made her an invaluable member of the staff. The Committee recor d their appreciation of her services and wish her well in her new career . Mr. Dillwyn Owen was appointed to succeed Miss Howe as Drama Assistant.

82 io

NOTES ON THE ACCOUNT S These notes are given in amplification of the Annual Accounts whic h are contained in Appendix A following . The Revenue and Expenditure Account includes a specific reserve of £3,000 for the Purcell Tercentenary and Handel Bicentenary to cove r preliminary expenses for a series of commemorative performances . The Balance Sheet shows £34,320 13s . 3d. for grants and guarantee s outstanding, which is an increase of £17,270 on the comparable item at 31st March, 1957. This has been caused chiefly by a more extensive use of guarantees as opposed to grants which has had the effect of delayin g payments until after the end of the financial year and has resulted in an increase of cash balances amounting to £25,154 . The item `Loans to Associated and Other Organisations' include s £3,330 to the Advance Players Association Ltd ., which is fully secured by the transfer to the Council of an investment in 2j per cent Savings Bonds , 1964/67. The reference to the Midland Theatre Company under the headin g `Drama' in Schedule 1 covers the last three months' activity before thi s company was wound up in anticipation of the opening of the ne w Belgrade Theatre, Coventry . Equipment valued at £1,186 2s. 6d. was transferred to the new theatre, this sum appearing as a grant to th e Belgrade Theatre Trust (Coventry) Ltd . in Schedule 3 .

83 APPENDICE S

85 THE ARTS COUNCI L APPENDIX A

REVENUE AND EXPENDITURE ACCOUN T

1956/57 £686,172 GENERAL EXPENDITURE ON THE ARTS (See Schedule 1 ) £761,962 15 8 90,392 GENERAL OPERATING COSTS (See Schedule 2) 92,694 3 3 4,944 TRANSFER TO CAPITAL ACCOUNT REPRESENTING CAPITA L EXPENDITURE FOR THE YEAR 742 6 0 490 RESERVE FOR LOANS TO ASSOCIATED ORGANISATION S - SPECIFIC RESERVE-PURCELL TERCENTENARY AN D HANDEL BICENTENARY 3,000 0 0 78,050 GRANT TO SCOTTISH COMMITTEE 82,176 0 0 35,250 GRANT TO WELSH COMMITTEE 42,910 0 0 2,842 NET LOSS ON SALE OF ASSETS 4,817 3 7 % 10,157 BALANCE carried dow n 1,058 1 9 Cdeducti

zss i,ys.s £989,360 10 3

11,229 BALANCE carried forward 12,287 13 4

212,261 13 4

OF GREAT BRITAI N

FOR THE YEAR ENDED 31st MARCH, 195 8

1956/57 £885,000 GRANT IN AID : H.M. Treasury £985,000 0 0 788 REPAYMENT OF LOANS 403 6 8 - REPAYMENT OF GRANTS £520 0 0 893 CANCELLATION OF GRANTS and provision for expenses i n previous year not required 485 17 11 1,005 17 1 1 SUNDRY RECEIPT S Interest : Bank and Investment 1,590 8 4 Part Refund of Licence Fees on reclassification of Motor Vehicles 919 12 6 Miscellaneous 441 4 1 0 1,302 2,951 5 8

£887,983 . . £989,360 10 3

21,386 BALANCE as at 1st April, 1957 11,229 11 7 10,157 BALANCE brought down 1,058 1 9 Cdeduct

£11,229 £12,287 13 4

87

THE ARTS COUNCI L BALANCE SHEET A S

LIABILITIES 1956/57 CAPITAL ACCOUNT Balance as at 31st March, 1957 £83,595 0 3 Add Capital Expenditure during year transferred fro m Revenue and Expenditure Account 742 6 0 £8 3,595 £84,337 6 3 17,051 GRANTS AND GUARANTEES OUTSTANDING 34,320 13 3 13,457 SUNDRY CREDITORS 18,411 3 1 0 24,558 SPECIAL FUNDS (See Schedule 5) 21,942 9 1 0 - SPECIFIC RESERVE-PURCELL TERCENTENARY AN D HANDEL BICENTENARY 3,000 0 0 REVENUE AND EXPENDITURE ACCOUNT 11,229 Balance as at 31st March, 1958 12,287 13 4

NOTE : No provision has been made for depreciation . Payments from the grant in aid do not include any such provision, but only the cost of renewals .

£149,890 Carried forward £174,299 6 6

88

OF GREAT BRITAI N AT 31st MARCH, 1958 ASSETS 1956/57 OFFICE EQUIPMENT At valuation as at 31st March, 1956, and additions at cost les s items sold to 31st March, 1957 £14,541 16 3 Additions less items sold during year 505 19 1 1 £14,542 £15,047 16 2 MOTOR VANS AND CARS At valuation as at 1st April, 1949, and additions at cost les s items sold to 31st March, 1957 14,474 18 4 Less items sold less additions during year 4,377 19 6 14,475 10,096 18 1 0 PIANO ACCOUNT At valuation as at 31st March, 1956, less items sold t o 780 31st March, 1957 780 0 0 THEATRE AND CONCERT HALL EQUIPMEN T At valuation as at 31st March, 1956, and additions at cost les s items sold to 31st March, 1957 12,523 7 1 1 Less items sold less additions during year 200 1 1 12,523 12,323 610 ART EXHIBITION EQUIPMEN T At valuation as at 31st March, 1956, and additions at cost les s items sold to 31st March, 1957 10,564 0 1 0 Additions less items sold during year 595 0 0 10,564 11,159 0 1 0 LITHOGRAPH S At cost as at 31st March, 1957 573 14 9 Less items sold during year 12 3 574 573 2 6 PICTURES AND SCULPTURE S At cost as at 31st March, 1957 25,400 17 6 Additions less items sold during year at cost 3,728 19 2 25,401 29,129 16 8 REPRODUCTIONS At valuation as at 31st March, 1957 4,736 4 8 Additions during year 490 19 9 4,736 5,227 4 5 WIGMORE HALL CANTEEN STOC K 339 As at 31st March, 1958 363 10 1 0 LOANS TO ASSOCIATED AND OTHER ORGANISATION S (See Schedule 4) Secured by Mortgage 3,500 0 0 Secured by Investment 3,330 0 0 Unsecured and only conditionally recoverable 11,900 0 0 18,730 0 0 Less Reserve 11,900 0 0 3,625 6,830 0 0 £87,559 Carried forward E91,530,17 1 89

THE ARTS COUNCI L BALANCE SHEET A S

LIABILITIES

£149,890 Broughtjorward £174,299 6 6

£149,890 £174,299 6 6

I have examined the foregoing Account and Balance Sheet . I have obtained all the informatio n this Account and Balance Sheet are properly drawn up so as to exhibit a true and fair view of the

90

OF GREAT BRITAI N AT 31st MARCH, 1958

ASSETS

£87,559 Brought forward £91,530 17 1 SPECIAL FUND INVESTMENTS (See Schedule 6 ) At cost or as at date of transfer 16,343 (Market value £12,670 9s. 3d .) 16,343 3 7

INVESTMENTS 3 per cent . Savings Bonds 1960/7 0 (Market value £3,875 8s . Id .) 5,000 0 0 4 per cent. Defence Bonds (Market value at Par) 630 0 0 4j per cent . Defence Bonds (Market value at Par) 50 0 0 5,630 5,680 0 0 24,624 SUNDRY DEBTORS, PAYMENTS IN ADVANCE 19,857 1 6 CASH On Deposit 18,000 0 0 On Current Account 22;520 6 7 Imprests 250 17 6 In Hand 117 0 3 15,734 40,888 4 4

£149,890 £174,299 6 6

Chairman : KENNETH CLARK . Secretary-General : W. E. WILLIAMS.

and explanations that I have required, and I certify as the result of my audit that in my opinio n transactions of the Arts Council of Great Britain and of the state of their affairs . (Signed) P. J. CURTIS , for the Comptroller and Auditor-General. Exchequer and Audit Department , Nth July, 1958 .

9 1 THE ARTS COUNCI L

SCHEDULE I-GENERAL

MUSI C Opera and Balle t Grants and Guarantees (See Schedule 3) Directly Provided Concert s Other Activitie s Grants and Guarantees (See Schedule 3) Directly Provided Concerts Wigmore Concert Hall (including costs of Repairs and Alterations to Building) Net Income of Wigmore Hall Catering

Net Total Expenditure

DRAMA Grants and Guarantees (See Schedule 3) Companies specially engaged for Arts Council Tour s Midland Theatre Company Net Total Expenditure

ART Grants and Guarantees (See Schedule 3) Exhibitions Art Films Tour Lithograph Sales

Net Total Expenditure POETR Y Grants and Guarantees (See Schedule 3)

FESTIVAL S Grants and Guarantees (See Schedule 3)

ARTS CENTRES AND ARTS CLUBS Grants and Guarantees (See Schedule 3)

GENERAL ART ACTIVITIE S Miscellaneous (See Schedule 3)

Net Expenditure transferred to Revenue and Expenditure Accoun t

92

OF GREAT BRITAI N

EXPENDITURE ON THE ARTS

Gross Gross Net Net Revenue Expenditure Revenue Expenditur e £531,250 0 0 £531,250 0 0 £6,724 10 9 9,014 0 6 2,289 10 0 113,452 5 5 113,452 5 5 649 12 6 1,722 3 1 1,072 10 7 9,772 13 9 12,065 19 8 2,293 5 1 1 £39 0 1 39 0 1 650,357 11 1 1 39 0 1 £650,318 11 1 0

69,692 0 7 69,692 0 7 423 17 3 1,277 7 8 853 10 5 5,450 4 1 9,738 19 8 4,288 15 7 74,834 6 7 74,834 6 7

7,131 13 0 7,131 13 0 27,412 9 3 41,840 3 0 14,427 13 9 1,086 11 10 1,911 15 9 825 3 11 3 0 4 1 14 0 1 6 4 1 6 4 22,384 10 8 1 6 4 22,383 4 4 1,868 6 5 1,868 6 5 1,868 6 5

5,206 12 5 5,206 12 5 5,206 12 5

5,151 14 1 5,151 14 1 5,151 14 1

2,200 0 0 2,200 0 0 2,200 0 0

£761,962 15 8

93 c

THE ARTS COUNCIL OF GREAT BRITAIN

SCHEDULE 2 GENERAL OPERATING COSTS FOR THE YEAR ENDED 31st MARCH, 195 8

HEADQUARTERS Salaries : Music £9,133 18 9 Dram a 5,614 16 2 Art 15,588 14 3 Finance 7,428 17 2 Secretarial and General 18,741 9 9 £56,507 16 1 Superannuation 3,652 18 2 £60,160 14 Rent, Rates and Maintenance Expense s 17,254 15 Office, Travelling, Entertainment and Sundry Expense s 13,662 4 Printing and Publicity 1,616 9

Transferred to Revenue and Expenditure Account £92,694 3 3

NoTE : Endowment benefits due to members of the Pension Fund are assured by Policies held b y the Council. 94

THE ARTS COUNCIL OF GREAT BRITAIN

SCHEDULE 3 GRANTS AND GUARANTEE S MUSI C Opera and Ballet Royal Opera House, Covent Garden Limited £302,000 0 0 Sadler's Wells Trust Limited 142,000 0 0 *The Royal Ballet School 15,000 0 0 Intimate Opera Society Limited 1,250 0 0 English Opera Group Limited 1,500 0 0 Carl Rosa Trust Limited 63,500 0 0 Mercury Theatre Trust Limited (Ballet Rambert) 5,000 0 0 Western Theatre Ballet Limited 500 0 0 New Opera Company Limited 500 0 0 £531,250 0 0 *Grant for Capital Expenditure Other Activities London Philharmonic Orchestra Limited 12,000 0 0 Royal Liverpool Philharmonic Society Limited 15,000 0 0 City of Birmingham Symphony Orchestra 15,000 0 0 Haft Concerts Society 15,266 18 9 Western Orchestral Society Limited (Bournemouth Symphony Orchestra) 15,000 0 0 London Symphony Orchestra Limited 2,000 0 0 Payments to Music Societies and Clubs affiliated to the National Federation of Music Societies in respect of guarantees (includin g Federation Administration) 19,966 0 0 Jacques Orchestra Limited 750 0 0 Boyd Neel Concert Society Limited 2,000 0 0 Rural Music Schools Association 2,000 0 0 Institute of Contemporary Arts (Music Section) 1,000 0 0 Society for the Promotion of New Music 1,000 0 0 Brighton Philharmonic Society Limited : 1956/57 Season £1,600 0 0 1957/58 Season 2,000 0 0 3,600 0 0 The Royal Philharmonic Society 1,750 0 0 Central Music Library Limited 500 0 0 Direct Grants and Guarantees to Musical Organisations for special Concert Activities 6,619 6 8 113,452 5 5 DRAMA Birmingham Repertory Theatre Limited 5,000 0 0 Bristol : Old Vic Trust Limited 2,000 0 0 Cambridge Arts Theatre Trust 401 5 0 Canterbury Theatre Trust Limited 750 0 0 Chesterfield Civic Theatre Limited 750 0 0 Colchester Repertory Company Limited 800 0 0 Coventry : Belgrade Theatre Trust (Coventry) Limited 5,686 2 6 Derby Little Theatre Club Limited 250 0 0 Farnham Repertory Company Limited 450 0 0 Guildford Theatre Club Limited 1,000 0 0 Hornchurch Theatre Trust Limited 500 0 0

Carried forward £17,587 7 6 £644,702 5 5 95

SCHEDULE 3-continued

Brought forward £17,587 7 6 £644,702 5 DRAMA (continued) Ipswich Arts Theatre Trust 500 0 0 Leatherhead Repertory Company Limited 750 0 0 Lincoln Theatre Association Limited 500 0 0 London : English Stage Company Limited 5,000 0 0 Old Vic Trust Limited 12,000 0 0 Royal Victoria Hall Foundation 8,000 0 0 Pioneer Theatres Limited (Theatre Workshop Company) 1,000 0 0 Margate Theatre Trust Limited 1,100 0 0 Northampton Repertory Players Limited 707 19 0 Nottingham Theatre Trust Limited 4,958 7 0 Oxford : Meadow Players Limited 3,000 0 0 Salisbury Arts Theatre Limited 1,200 0 0 Bankside Players Limited 1,000 0 0 The British Centre of the International Theatre Institute 250 0 0 Council of Repertory Theatres 350 0 0 Mobile Theatre Limited (Caryl Jenner Company) 3,000 0 0 Promotion of New Drama--Commissioning Fees and Awards 2,875 14 0 Studio Theatre Limited (Theatre in the Round) 1,000 0 0 Theatre Grid Scheme 2,783 1 6 Theatre Planning 47 18 0 Travel Grants for Producers 245 0 0 The West of England Theatre Company Limited 1,836 13 7 69,692 0

ART Institute of Contemporary Arts 2,000 0 0 Red House Museum and Art Gallery-Christchurch 60 0 0 Petersfield Arts and Crafts Society 25 0 0 Bournemouth Arts Club 100 0 0 Bromley Art Society 20 0 0 Cirencester Arts Club 100 0 0 The Penwith Society of Arts in Cornwall 275 0 0 Midland Group of Artists 449 0 0 Society for Education through Art 100 0 0 Colchester Art Society 50 0 0 The Newlyn Society of Artists 175 0 0 The Finsbury Art Group 40 0 0 Trustees of the Whitechapel Art Gallery 450 0 0 The Red Rose Guild of Craftsmen 25 0 0 Young Contemporaries 1958--(Prizes) 75 0 0 The London Group 200 0 0 Catalogue of the Seligman Collection 637 13 0 Belgrade Theatre Trust (Coventry) Limited-(Martin Froy Mosaics) 850 0 0 United Kingdom National Committee of the International Associatio n of Plastic Arts 50 0 0 Women's International Art Club 200 0 0 University of Nottingham : Department of Fine Art 80 0 0 Art Films 850 0 0 Bruton Art Society 20 0 0 Artists International Association 300 0 0 7,131 1 3 Carried forword £721,525 1 9 96

SCHEDULE 3-continued Brought forward £721,525 19 0 POETR Y The Apollo Society £320 0 0 The British Institute of Recorded Sound (Recorded Literature Grant) 100 0 0 The English Festival of Spoken Poetry 300 0 0 The Poetry Book Society Limited 250 0 0 The Trustees and Guardians of Shakespeare's Birthplace (Hall's Croft Festival of Poetry) 259 17 9 Cley Women's Institute (Little Festival of Poetry, Cley-next-the-Sea) 9 8 8 Poetry Magazines : `Outposts' 78 4 2 `Listen' 50 0 0 Help for Spoken Poetry (Poetry Readings, etc.) 500 15 10 1,868 6 5

FESTIVALS Aldeburgh Festival of Music and the Arts 750 0 0 Cheltenham Arts Festivals Limited : Cheltenham Festival of British Contemporary Music 1,250 0 0 Cheltenham Festival of Contemporary Literature 171 4 7 Saddleworth Festival of the Arts 64 7 3 The Dolmetsch Foundation (Haslemere Festival) 167 9 10 The St . George's Guildhall Limited (King's Lynn Festival) 303 10 9 The Taw and Torridge Festival Society Limited (Devon's Festival o f the Arts) 250 0 0 Three Choirs Festival Association Limited (Three Choirs Festival , Worcester) 750 0 0 York Festival Society Limited 1,500 0 0 5,206 12 5

ARTS CENTRES AND ARTS CLUB S St. George's Guildhall Limited, King's Lynn 400 0 0 The Basingstoke Theatre Association Limited 100 0 0 Middlesbrough Little Theatre Limited 200 0 0 Arts Clubs 960 4 6 South-Western Arts Association : Arts Centres and Clubs 2,141 9 7 Administration 1,350 0 0 5,151 14 1

GENERAL ART ACTIVITIES Miscellaneous The British Institute of Recorded Sound 1,850 0 0 Langley Moore Museum of Costume 350 0 0 2,200 0 0 £735,952 11 1 1

NOTE : Maximum commitments are given, not necessarily the amounts paid. 97

THE ARTS COUNCIL OF GREAT BRITAI N SCHEDULE 4 LOANS TO ASSOCIATED AND OTHER ORGANISATION S Loans secured by mortgage £3,625 0 0 Less repaid during year 125 0 0 £3,500 0 0

Loan secured by investment £3,330 0 0 Loans unsecured and only conditionally recoverabl e 12,303 6 8 Less repayment during year of loans previously reserve d 403 6 8 This sum is fully covered by reserve as shown in the Balance Sheet £11,900 0 0

SCHEDULE 5-SPECIAL FUNDS

PILGRIM TRUST SPECIAL FUND As at 31st March, 1957 £2,397 14 0 Add Interest Account 66 10 0 £2,464 4 0 . H. A. THEW FUND Capital Account 9,094 10 9 Income Account Balance at 31st March, 1957 £1,336 17 0 Add Income during year 304 12 10

Less Payments during year 1 464 15 I 1 17F 1d 10,271 4 1 1 MRS. THORNTON FUND Capital Accoun t As at 31st March, 195 7 5,408 9 1 Add Realisation of Post-War Credit 13 5 0 5,421 14 1 Income Account Balance at 31st March, 195 7 491 11 9 Add Income during year 175 d R

Less Payments during year 345 1 0 0 321 16 5 5,743 10 6 ARTS COUNCIL : THEATRE ROYAL BRISTOL RESERVE FUND As at 31st March, 1957 5,828 11 9 Add Income during year 750 0 0 6,578 11 9 Less Payments and commitments during year 3,115 1 4 2 dla In G

Total Special Funds as per Balance Sheet

98

THE ARTS COUNCIL OF GREAT BRITAIN

SCHEDULE 6-SPECIAL FUND INVESTMENTS

Market Value Nominal Book at 31st Value Value March, 1958 PILGRIM TRUST SPECIAL FUND 3j per cent. Defence Bonds (Conversion Issue ) £1,900 0 0 £1,895 13 0 £1,900 0 0 H. A. THEW FUND 3 per cent . British Transport Stock, 1978/8 8 6,876 16 11 6,326 13 11 4,401 3 8 31 per cent . Conversion Stock 2,809 19 10 2,767 16 10 1,798 7 1 1 MRS. THORNTON FUND 21 per cent . Consolidated Stoc k 665 1 9 488 16 10 325 17 10 3 per cent. Funding Stock, 1959/69 2,097 2 1 2,099 15 0 1,656 14 3 3 per cent . Funding Stock, 1959/69 (P.O. Issue) 250 0 0 249 7 6 197 10 0 4 per cent . Conversion Stock, 1957/58 (P.O. Issue) 200 0 0 203 7 6 201 6 10 3 per cent . Defence Bonds (Conversion Issue) 30 0 0 30 0 9 30 0 0 31 per cent. City of Birmingham Stock 100 0 0 102 0 0 92 10 0 3 per cent . British Transport Stock, 1978/8 8 355 5 10 337 10 6 227 7 8 31 per cent. Defence Bonds (Conversion Issue) 740 0 0 739 5 6 740 0 0 3j per cent. Defence Bonds 1,000 0 0 1,000 0 0 1,000 0 0 4j per cent. Conversion Stock, 1962 100 0 0 102 16 3 99 11 1

Total Special Fund Investments as per Balance Sheet £17,124 6 5 £16,343 3 7 £12,670 9 3

99

THE COUNCIL' S APPENDIX B

REVENUE AND EXPENDITURE ACCOUN T

1956/57 £62,383 GENERAL EXPENDITURE ON THE ARTS (See Schedule 1) £70,229 10 6 12,636 GENERAL OPERATING COSTS (See Schedule 2) 12,750 1 8 TRANSFER TO CAPITAL ACCOUNT REPRESENTING CAPITA L 962 EXPENDITURE FOR THE YEAR 4,001 10 4 - RESERVE FOR LOANS 6,000 0 0 - LOSS ON SALE OF ASSETS 27 0 0 ALTERATIONS TO PROPERT Y 300 11 Rothesay Terrace, Edinburgh - - -

£16,281 £93,008 2 6

41 755 l BALANCE brought down 6,251 6 8 Cdeduct ) 12,183 BALANCE carried forward 5,931 2 8

£7,428 tip > i~~ y 4

100

COMMITTEE IN SCOTLAN D

.FOR THE YEAR ENDED 31st MARCH, 195 8

1956/5 7 £78,050 GRANT FROM THE ARTS COUNCIL OF GREAT BRITAIN £82,176 0 0 400 REPAYMENT OF LOAN 400 0 0 - REPAYMENTS OF GRANTS £2,062 10 0 CANCELLATION OF GRANTS AND GUARANTEES 2,297 in previous year not required 1,467 0 7 3,529 10 7 SUNDRY RECEIPT S 289 Interest on Deposit Accounts 651 5 3 4,755 ] BALANCE carried down 6,251 6 8 Cdeduct~

£76,281 £93,008 2 6

7,428 BALANCE as at 1st April, 1957 12,182 9 4

£7,428 £12,182 9 4

10 1

BALANCE SHEET A S LIABILITIES 1956/57 CAPITAL ACCOUNT Balance as at 31st March, 1957 £19,383 8 9 Add Capital Expenditure during year transferred from Revenue and Expenditure Account 4,001 10 4 £19,383 £23,384 19 1 5,932 GRANTS AND GUARANTEES OUTSTANDING 13,248 10 0 4,117 SUNDRY CREDITORS 5,855 17 0 REVENUE AND EXPENDITURE ACCOUNT 12,183 Balance as at 31st March, 1958 5,931 2 8

£41,615 £48,420 8 9

I have examined the foregoing Account and Balance Sheet. I have obtained all the informatio n this Account and Balance Sheet are properly drawn up so as to exhibit a true and fair view of th e

102

61

AT 31st MARCH, 1958 ASSETS 1956/57 PROPERTY £8,307 11 Rothesay Terrace, Edinburgh £8,307 4 2 OFFICE EQUIPMEN T At valuation as at 31st March, 1955, and additions at cost t o 31st March, 1957 £2,665 15 1 0 Additions less items sold during year 244 11 1 2,666 2,910 6 1 1 MOTOR CAR S 1,912 At cost as at 31st March, 1957 1,912 8 3 PIANO ACCOUNT 200 At valuation as at 31st March, 1955 200 0 0 THEATRE AND CONCERT HALL EQUIPMEN T At cost as at 31st March, 1957 103 2 6 Additions during year at cost 2,688 15 0 103 2,791 17 6 PICTURES, SCULPTURES, ETC . At cost as at 31st March, 1957 5,523 8 0 Additions during year at cost 568 4 3 5,523 6,091 12 3 REPRODUCTIONS At cost as at 31st March, 1957 671 10 0 Additions during year at cost 500 0 0 672 1,171 10 0 LOAN S Unsecured and only conditionally recoverable 12,200 0 0 Less Repayments during year 400 0 0 11,800 0 0 Add New loans made during year 6,000 0 0 17,800 0 0 - Less Reserve 17,800 0 0 - 1,645 SUNDRY DEBTORS 2,485 15 0 CAS H On Deposit Account 18,000 0 0 On Current Account 4,484 14 8 In Hand 65 0 0 20,587 22,549 14 8 £41,615 £48,420 8 9

Chairman of the Scottish Committee : JOHN McEWEN. Secretary-General : W . E. WILLIAMS . and explanations that I have required, and I certify as the result of my audit that in my opinion transactions of the Arts Council's Committee in Scotland and of the state of their affairs. (Signed) P. J. CURTIS, for the Comptroller and Auditor-General . Exchequer and Audit Department , 30th July, 1958 .

103

THE COUNCIL'S COMMITTEE IN SCOTLAN D SCHEDULE I GENERAL EXPENDITURE ON THE ARTS FOR THE YEAR ENDED 31st MARCH, 195 8 MUSIC Grants and Guarantees : Scottish National Orchestra £23,500 0 0 Music Societies 4,184 9 5 £27,684 9 5 Directly Provided Concerts 9,464 14 1 Less Receipts 2,945 9 1 6,519 5 0 - £34,203 14 5 DRAMA Grants and Guarantees 18,090 7 1 Tours 6,431 7 8 Less Receipts 2,942 8 4 - 3,488 19 4 21,579 6 5 BALLE T Tours 3,573 9 0 Less Receipts 1,937 17 1 1 - 1,635 11 1 ART Grants 375 0 0 Exhibition Expenses 4,889 3 0 Less Fees and Catalogue Sales 913 4 5 - 3,975 18 7 4,350 18 7 POETR Y Award 300 0 0 FESTIVALS Edinburgh Festival Society 7,500 0 0 ARTS CENTRES AND CLUBS Grants 660 0 0 Net Expenditure transferred to Revenue and Expenditure Account £70,229 10 6

SCHEDULE 2 GENERAL OPERATING COSTS FOR THE YEAR ENDED 31st MARCH, 195 8 Salaries and Wages £8,199 5 7 Travel and Subsistence 1,518 5 1 1 Rates, Insurance, Heating, Lighting and Maintenance Expenses 1,254 8 4 Publicity and Entertainment 768 2 4 Telephone, Postage, Stationery and General Expenses 1,009 19 6 Transferred to Revenue and Expenditure Account £12,750 1 8

104 THE COUNCIL'S COMMITTEE IN SCOTLAN D SCHEDULE 3 GRANTS AND GUARANTEES FOR 1957/5 8 MUSIC Scottish National Orchestr a £23,500 0 0 National Federation of Music Societie s 2,300 0 0 Glasgow Grand Opera Society 700 0 0 Edinburgh Lunch Hour Concert s 208 17 3 Edinburgh Opera Company 200 0 0 College of Pipin g 175 0 0 Dunedin Society 145 15 0 Glasgow Organ Recitals Society 82 5 4 Saltire Societ y 62 15 6 Edinburgh Organ Recitals Committe e 60 0 0 Banff Choral Society 55 0 0 Direct Grants and Guarantees to Music Club s (£50 and under) 194 16 4 £27,684 9 5 DRAMA Perth Repertory Theatre (Two Companies ) £6,500 0 0 Special Supplementary Grant 563 14 5 7,063 14 5 Dundee Repertory Theatre 3,000 0 0 Citizens' Theatre, Glasgo w 3,000 0 0 Gateway Theatre, Edinburgh 2,500 0 0 Pitlochry Festival Theatre 372 0 0 Federation of Scottish Repertory Theatre s 1,500 0 0 Drama Bursary 500 0 0 Theatre Award 100 0 0 Direct Grants and Guarantees (£50 and under) 54 12 8 18,090 7 1 ART Scottish Crafts Centre 200 0 0 Society of Scottish Artist s 100 0 0 Direct Grants of £25 and unde r 75 0 0 375 0 0 POETR Y Award 300 0 0 FESTIVALS Edinburgh Festival Societ y 7,500 0 0 ARTS CENTRES AND CLUBS Galashiels Arts Clu b 165 0 0 Troon Arts Guil d 150 0 0 Greenock Arts Guil d 150 0 0 Inverness Arts Centr e 125 0 0 Direct Grants of £50 and under 70 0 0 660 0 0 £54,609 16 6

NOTE : Maximum commitments are given, not necessarily the amounts paid .

105

THE COUNCIL' S APPENDIX C REVENUE AND EXPENDITURE ACCOUN T

195615 7 £26,321 GENERAL EXPENDITURE ON THE ARTS (See Schedule 1) £36,234 15 5 8,781 GENERAL OPERATING COSTS (See Schedule 2) 9,505 19 1 0 967 TRANSFER TO CAPITAL ACCOUNT REPRESENTING CAPITA L EXPENDITURE FOR THE YEAR 1,432 4 1 1

£36,069 £47,173 0 2

496 BALANCE brought down 3,641 4 6 8,979 BALANCE carried forward 5,338 2 7

£9,475 £8,979 7 1

106

COMMITTEE IN WALE S

FOR THE YEAR ENDED 31st MARCH, 195 8

195615 7 £35,250 GRANT FROM THE ARTS COUNCIL OF GREAT BRITAIN £42,910 0 0 CANCELLATION OF GUARANTEES AND PROVISIONS FOR FEE S 12 AND EXPENSES IN PREVIOUS YEAR NOT REQUIRED 17 1 1 1 SUNDRY RECEIPTS Interest on Deposit Account £412 10 3 Miscellaneous 192 3 6 311 604 13 9 496 BALANCE carried down 3,641 4 6

£36,069 £47,173 0 2

9,475 BALANCE as at 1st April, 1957 8,979 7 1

£9,475 £8,979 7 1

107

THE COUNCIL' S BALANCE SHEET A S

LIABILITIES

1956/57 CAPITAL ACCOUN T Balance as at 31st March, 195 7 £5,616 6 1 Add Capital Expenditure during year transferred fro m Revenue and Expenditure Account 1,432 4 11 £5,61 6 £7,048 11 0 227 GRANTS AND GUARANTEES OUTSTANDIN G 202 5 5 912 *SUNDRY CREDITOR S 6,180 0 1 REVENUE AND EXPENDITURE ACCOUNT 8,979 Balance as at 31st March, 195 8 5,338 2 7

*NOTE : Of this sum £3,378 13s. Id . is due to Headquarter s in respect of Drama Tour.

£15,734 z,ia,ioa iy i

I have examined the foregoing Account and Balance Sheet . I have obtained all the that in my opinion this Account and Balance Sheet are properly drawn up so as to exhibi t the state of their affairs .

108

COMMITTEE IN WALE S AT 31st MARCH, 1958

ASSETS

1956/57 OFFICE EQUIPMENT At cost as at 31st March, 1957 £550 10 2 Additions at cost during year 270 0 1 1 £551 £820 11 1 MOTOR CAR S 2,205 At cost as at 31st March, 195 7 2,205 8 3 PICTURES AND SCULPTURE S At cost as at 31st March, 1957 2,694 17 0 Additions at cost during year 1,162 4 0 2,695 3,857 1 0 REPRODUCTIONS 165 At cost as at 31st March, 195 7 165 10 8 LOANS TO ASSOCIATED AND OTHER ORGANISATIONS 165 0 0 Less Reserve 165 0 0

744 SUNDRY DEBTOR S 566 10 1 0 CASH On Deposit Account 10,000 0 0 On Current Account 1,140 5 7 In Han d 13 11 8 9,374 11,153 17 3

£15,734 £18,768 19 1

Chairman of the Welsh Committee : GWYN JONES. Secretary-General: W . E. WILLIAMS.

information and explanations that I have required, and I certify as the result of my audi t a true and fair view of the transactions of the Arts Council's Committee in Wales and o f

(Signed) P. J. CURTIS, for the Comptroller and Auditor-General.

Exchequer and Audit Department , 30th July, 1958 .

H 109

THE COUNCIL'S COMMITTEE IN WALE S SCHEDULE I GENERAL EXPENDITURE ON THE ARTS FOR THE YEAR ENDED 31st MARCH, 195 8

MUSI C Grants and Guarantees : (See Schedule 3 ) Opera £16,250 0 0 Festivals 2,403 8 1 0 Music and Arts Clubs 2,038 2 0 Societies cca 1'2 a

Directly Provided Concert s £3,993 11 6 V Less Receipts 1,552 1 10 2,441 9 8 -- £23,702 14 3

DRAMA Grants and Guarantees (See Schedule 3) 740 0 0 English Tours 10,000 8 4 Less Receipts 3,221 14 1 6,778 14 3 Welsh Tours 1,500 0 0 9,018 14 3

ART Grants and Guarantees (See Schedule 3 ) 646 9 0 Exhibition Expenses 2,771 7 4 Less Exhibition Fees and Catalogue Sale s 1,003 8 10 1,767 18 6 Art Films 250 9 8 Less Art Film Fees and Catalogue Sale s 222 3 3 28 6 5 Guide Lecturers' Fees and Expenses 21 3 6 2,463 17 5

POETR Y Recitals of Poetry and Music 849 9 6 Awards 200 0 0 1,049 9 6 Net Expenditure transferred to Revenue and Expenditure Account £36,234 15 5

110

THE COUNCIL'S COMMITTEE IN WALE S SCHEDULE 2 GENERAL OPERATING COSTS FOR THE YEAR ENDED 31st MARCH, 195 8

Salaries and Superannuation £6,168 4 8 Travelling and Subsistence 1,637 7 2 Rent, Rates, Insurance, Heating and Lighting 492 15 5 Publicity and Entertainment 56 9 1 0 Telephone, Postages, Stationery and Office Maintenance 1,151 2 9 Transferred to Revenue and Expenditure Account £9,505 19 1 0

SCHEDULE 3 GRANTS AND GUARANTEES FOR 1957/5 8 MUSI C Welsh National Opera Company Limited £16,250 0 0 Swansea Festival of Music and the Arts £601 8 1 1 Montgomery County Music Festival 358 6 7 Royal National Eisteddfod of Wales, Llangefni 900 0 0 South Wales Combined Choir Festival 297 9 1 Dee and Clwyd Festival of Music 200 0 0 Brecknock County Festival of Music 46 4 3 2,403 8 1 0 National Federation of Music Societies 569 13 9 Direct Grants and Guarantees to Music and Arts Clubs for Concerts 2,038 2 0 21,261 4 7 DRAMA Swansea Welsh Drama Association 300 0 0 Llangefni Dramatic Society 200 0 0 Grove Park Dramatic Society 40 0 0 Commissioned Welsh Play-Fee 200 0 0 740 0 0

ART Society for Education through Art 265 9 0 56 Group 59 0 0 Portmadoc Art Group 25 0 0 North Wales Group 50 0 0 Contemporary Art Society for Wales 147 0 0 Powys Fine Arts Association 100 0 0 646 9 0 £22,647 13 7 NOTE: Maximum commitments are given, not necessarily the amounts paid .

111 APPENDIX D

ARTS COUNCIL EXHIBITIONS HELD IN GREAT BRITAIN DURING THE PERIOD APRIL 1957-MARCH 195 8

ENGLAND

Paintings, Drawings and Sculpture

Arts Council Collection, Part I (Oils) S. W. Hayter-Retrospective 1927-195 7 Arts Council Collection, Part II (Oils) Indian Painting from Rajastha n w Arts Council Collection, Part I-Th e Ingres : An exhibition of Drawings fro m Impressionist Tradition the Musee Ingres, Montauban s Arts Council Collection, Part H-Afte r Modem Israel Painting Impressionis m w Modern Italian Art from the Estoric k s Arts Council Collection, Part III- Collection Romantic and Abstrac t w 19th-Century Japanese Watercolour s s Arts Council Collection, Part IV-Since from the Tikotin Collection the War Paintings by Kandinsk y Arts Council Collection, Drawings William Lehmbruc k Arts Council Collection-Recent Pur- Lynn Chadwick-Sculptures and Draw- chases ings Twenty-six Watercolours from the Art s s Claude Monet Council Collection w Paintings from the Musee d'Art sw Martin Bloch Moderne, Paris Contemporary English Theatre Desig n s New Trends in Painting w Contemporary British Sculpture Paintings by Sidney Nolan s George Chinnery, 1774-185 2 Penwith Society of Art s Robert Delaunay Constant Permeke : Paintings and Draw- w Designs for Opera and Ballet at Coven t ings Garden Persian Miniatures w Drawings from the De Pass Collection Samuel Palmer and his Circle Henri Gaudier-Brzeska s Six Young Painter s Solomon R . Guggenheim Museum, sw Young Contemporaries, 195 7 New York : An exhibition of Mode m Painting

Graphic Arts, Books, Design, etc.

Book Illustrations (by the Illustrator s Picasso : An exhibition of Recent Group of the Society of Industrial Ceramics Artists) w Contemporary Prints from the Art s w British Book Design Council Collection s Etchings from the Arts Council Collec- The Arts of Ming : An exhibitio n tion organized by the Arts Council and th e w Contemporary British Lithographs Oriental Ceramic Society Contemporary Foreign Lithographs w Splendid Occasions (small version ) w Contemporary Norwegian Prints s Thirty American Print Makers Victorian Music Cover s 112

Reproductions and Photographs

sw Cezanne Reproductions Reproductions of Portrait s s The Art of Drawing, Part I Photographs of the Royal Tombs at s The Art of Drawing, Part II Westminster Abbey w The Art of Drawing, Part III w The Art of the Sculptor Paul Klee Reproductions A Dutch Master of Coloured Etchings : The Art of Landscape Hercules Seghers w Matisse Reproductions Toulouse-Lautrec Reproduction s Fifty Years of Picasso Vincent van Gogh Reproduction s Picasso Himself 64 exhibitions were held in 164 different buildings in 136 centres (285 showings including 15 exhibitions held in the Arts Council Gallery, the Tate Gallery and the R .B.A . Galleries , London) .

SCOTLAND

Alliance Graphique Internationale Bark Paintings (Aboriginal Art of Australia ) James Cowie Memorial Exhibition The Artist at Work Contemporary Scottish Paintings Picasso Aquatints (based on the illustrations The Painter and The Canvas in Buffon's Histoire Naturelle ) George Chinnery, 1774-1852 Watercolour Paintings by Young Scottis h Modern Turkish Paintings Artists Paintings from Gosford House Jack Yeats Contemporary Scottish Crafts Emily Carr 25 exhibitions (including 11 from England) were held in 30 different buildings in 21 centres (54 showings in all) .

WALES

Contemporary Welsh Painting (35 Paintings Open Exhibition Contemporary Wels h from the Welsh Collection) Painting and Sculptur e Daumier, Millet, Courbe t

21 exhibitions (including 18 exhibitions from England) were given 30 showings in 19 centres .

NOTE : s Also exhibited in Scotlan d w Also exhibited in Wales

11 3

APPENDIX E

SUBSIDIES FROM LOCAL AUTHORITIES AND LOCAL EDUCATION AUTH - ORITIES TO ORGANISATIONS IN RECEIPT OF GRANTS OR GUARANTEE S FROM THE ARTS COUNCIL In Schedules 3 of Appendices A, B and C are listed the Council's grants and guarantees for 195758 unde r such heads as Music, Drama, Art, Festivals, and Arts Centres and Arts Clubs . As under the Loca l Government Act of 1948 local authorities can contribute towards the provision of entertainment, or th e maintenance of an orchestra, or purposes incidental to the giving of entertainment, it is clear that most of the organisations subsidised by the Arts Council are eligible for help from the various local authorities whose areas they serve . In addition, local education authorities are empowered to help any of thes e organisations in so far as they promote cultural training and recreative activities . It accordingly seemed useful to compile a list of some of the subsidies from local authorities and loca l education authorities during 1957158 to organisations that had been grant-aided by the Arts Council i n that year. It should be added that some of these organisations, particularly the orchestras, receiv e payments (not here listed) from their local education authorities for performances for school children . Subsidies to the numerous societies and clubs affiliated to the National Federation of Music Societie s have not been included. ENGLAN D MUSI C Opera and Ballet Royal Opera House, Covent Garden Ltd . Nil Sadler's Wells Trust Ltd . Nil The Royal Ballet School Nil Intimate Opera Society Ltd . Nil English Opera Group Nil Carl Rosa Trust Ltd. Nil Mercury Theatre Trust Ltd . (Ballet Rambert) Nil Other Activities London Philharmonic Orchestra £2,900 from the L.C .C . and a rent rebate on the use of the Royal Festival Hall £1,390 from Metropolitan Boroughs £4,015 from Local Authorities outside Londo n Royal Liverpool Philharmonic Society (i) Liverpool Corporation : (a) Annuity in perpetuity i n payment for Hall £4,000 (b) Grant for net deficit £13,83 2 (c) Free use of the Hall an d offices, estimated £109000 (ii) Joint Local Authorities' Scheme* £10,28 1 (iii) Other Local Authorities £2,25 5 Total Local Authority Grants £40,368

City of Birmingham Symphony Orchestra City of Birmingham Corporation £28,400 Other Local Authorities £1,52 5 Halle Concerts Society Joint Local Authorities Scheme* £10,280.17 .6 Other Local Authorities £1,632 .2 .7 London Symphony Orchestra Rent rebate from the L .C.C . £2,10 0 Jacques Orchestra Nil •N.B.-The total contributions of local authorities participating in the above scheme in th e year ended 31st March, 1958, was £20,561 .15 .0. For details see next page. 114

Philomusica of London Nil Rural Music Schools Association Nil Institute of Contemporary Arts (music section) Ni l Society for the Promotion of New Music Use of Royal Festival Hall at nominal rent fo r orchestral rehearsals Western Orchestral Society Ltd . (Bournemouth Symphony Orchestra) Bournemouth Corporation £12,50 0 Other Local Authorities £79 0 £13,29 0

Brighton Philharmonic Society Ltd . Brighton Corporation £500 Royal Philharmonic Society Rent rebate from the L .C.C .

Lancashire and Cheshire Local Authorities' Scheme of Financial Assistanc e to Symphony Orchestras County Boroughs : Bowdon f20 Blackburn £379 Fulwoo d E44 Bolton £949 Haydock f54 Chester £195 Huyton-with Roby £31 7 Liverpool £6,726 Kirkha m L24 Manchester £5,991 Nesto n £25 Preston £407 Orrel l £10 .10 .0 St. Helens f400 Royton £26 .5 .0 Warrington £367 Thornton-Cleveley s £53 Stockport £500 Urmsto n £100 Blackpool £52 .10 .0 Whitwort h £3 4 Wirrall £5 0 Boroughs : Clayto n £1 0 Accrington £138 Leylan d £49 Bebington £272 Standish-with-Langtre e £3 1 Chorley fill Tottington £] 0 Clitheroe f41 Turton £ 5 Crosby £332 Great Harwoo d £1 0 Heywood £143 Longdendal e f5.5 .0 Lancaster £176 Hoylake £10 0 Leigh £277 Walton-le-Dal e £10.10.0 Ellesmere Port £10 0 Prestwich £100 Rural Districts : Ashton-under-Lyne £100 Blackbur n £10.10.0 Lytham St. Armes f25 Presto n £13 6 Nelson £21 Chester £8 6 Rawtenstall £115 Warringto n £10 5 Stretford £350 Disle y £1 6 Eccles £249 Burnley £2 1 Widnes f500 Clitheroe £5 .5.0 Fyld e £] 0 Urban Districts : Macclesfield £5 0 Atherton £117 Total Income, 1957-58 £20,561 .15 .0

DRAMA Birmingham Repertory Theatre Ltd . £3,000 from the Birmingham Corporation Bristol Old Vic Theatre Compan y £250 from Bristol Corporatio n Cambridge Arts Theatre Trust Nil Canterbury Theatre Trust Guarantee of operating loss from Canterbur y Corporation up to £4,000 plus loan charges

11 5 Chesterfield Civic Theatre Ltd . £2,400 from the Chesterfield Corporation, £37 5 from R .D .C. Colchester Repertory Company Ltd. £600 from Colchester Corporation Derby Little Theatre Club Ltd . £450 from Derby Corporation English Stage Company Ltd . Nil Farnham Repertory Company Ltd . £50 from Farnham U .D.C . Guildford Theatre Club Ltd . £1,000 from Guildford Corporation Homchurch Theatre Trust Ltd . Nil Ipswich Arts Theatre Trust Nil Leatherhead Repertory Company Ltd. £250 from Leatherhead U.D.C . Lincoln Theatre Association Ltd . £1,900 mortgage (1955) from Lincoln Corporation Margate Theatre Trust Ltd . £750 from Margate Corporation Meadow Players Ltd ., Oxford Playhouse Nil Mobile Theatre Ltd . £75 from Thorne Parish Council-gran t £50 from Barton-on-Humber U .D .C. £50 from Scunthorpe Borough Council £50 from Spalding U .D .C . £50 from Bourne U .D .C . £40 from Louth Corporatio n £50 from Woodhall Spa U.D.C. £50 from Brigg U .D .C. £50 from East Elloe R .D.C . (Holbeach) £25 from Boston Corporation £50 from Sleaford U.D.C. £50 from Stamford Corporatio n £50 from Warminster U.D.C . £50 from Camelford R .D .C. £40 from Dursley R .D.C. (Uley) £25 from Crook & Willingdon U.D.C. £100 from Worksop Corporatio n £25 from Weardale R.D.C. (Stanhope) These subsidies are all guarantees against loss on performances to adult audiences with the exception of a grant from Thorne Parish Council. Not all the guarantees have been called up in full) Northampton Repertory Players Ltd . Nil Nottingham Theatre Trust Ltd . £5,000 mortgage (1952) from Nottingham Corpora- tion. The City and County Education Authorities buy 37 special matinees during the year, at £8 0 per performance Pioneer Theatres Ltd ., Theatre Workshop From the Metropolitan Boroughs of Shoreditch £137 .10 .0 ; Poplar £50 ; Bethnal Green £87.10 .0 . From Barking Corporation £137 .10 .0 Salisbury Arts Theatre Ltd . Nil Studio Theatre Ltd ., Theatre in the Roun d The Company's rent has been reduced from £780 to £100 by the Scarborough Corporation for thei r summer season

ART Institute of Contemporary Art s Nil Red House Museum and Art Gallery, Hampshire County Council gives grant toward s Christchurch provision of educational services (£400 in 195657) Petersfield Arts and Crafts Societ y Nil Bournemouth Arts Club Local Education Authority allows use of College of Art rent free for one exhibition a year Bromley Art Societ y Loral Education Authority allows use of College o f Art rent free for monthly meetings Cirencester Arts Clu b Cirencester U .D .C . allows free use of Corn Hall for exhibitions

11 6 Penwith Society of Arts in Cornwal l Nil Midland Group of Artists, Nottingha m Local Authorities subscribe to their Picture Hire Scheme and regularly buy pictures from their Gallery Society for Education Through Art Purchases of works by Local Education Authorities are made at their annual exhibition of Pictures fo r Schools Colchester Art Society Free use of Castle Museum given for exhibitions ; free use of Grammar School Hall given for lectur e The Newlyn Society of Artists Nil Finsbury Art Grou p Finsbury Metropolitan Borough pays certai n accounts and gives free accommodation to a tota l value estimated at £18 5 Trustees of Whitechapel Art Gallery The L .C.C . gives £2,000 grant ; and grants are forth - coming from the following Metropolita n Boroughs : Stepney, £1,500 ; Shoreditch, £750 ; Bethnal Green, £375 ; Hackney, £750 ; Poplar, £200 The Red Rose Guild of Craftsme n Nil Young Contemporaries 1958 (Prizes) Nil The London Grou p Nil Bruton Art Society Nil Artists International Association Nil

ARTS FESTIVALS Aldeburgh Festival of Music and the Art s £25 from Aldeburgh Corporatio n Cheltenham Arts Festivals Ltd . : Cheltenham Festival of British Contemporary Music £750 guarantee from Cheltenham Corporatio n Cheltenham Festival of Art and Literature £100 from Cheltenham Corporation. (The promo- tion and administrative work of both festivals i s undertaken by the Corporation's staff) The Dolmetsch Foundation (Haslemere Festival) £50 guarantee from Haslemere U .D .C . The St. George's Guildhall Ltd . (King's Lyn n Festival) £200 from King's Lynn Corporation Saddleworth Festival of the Arts A guarantee was offered by the Local Authority, bu t this was not called u p The Taw and Torridge Festival Society Lt d The Barnstaple Corporation gave free office accom- (Devon's Festival of the Arts) modation and co-operated in the joint use of staff including the Borough Treasurer (Hon . Treasurer of the Festival) and the Entertainments Manager . Ilfracombe U .D .C. allowed the free use of concert hall for a Festival event Three Choirs Festival Association Ltd . £400 from Worcester Corporation : donation to- (Three Choirs Festival, Worcester) wards advertising York Festival Society (York Festival of th e Arts) £2,399 .14 .3 from York Corporation

ARTS CENTRE S Basingstoke Theatre Associatio n £300 guarantee offered by Basingstoke Borough Council of which £124 was called up *Bridgwater and District Arts Centre £50 grant from Bridgwater Borough Council £25 grant from Bridgwater R .D.C. *Members of the South-Western Arts Associatio n 'Members of the Midlands Arts Association

117 King's Lynn : Guildhall of St. George £100 from the Norfolk County Council for the Lunch Time Concerts Middlesbrough Little Theatre Nil *Plymouth Arts Centre £50 grant from Plymouth Local Educatio n Authority *Royal Cornwall Polytechnic Society , Falmouth £100 grant from the Falmouth Borough Council £100 grant from Cornwall County Council *St . Austell Society of Arts Nil *Shaftesbury and District Arts Club Free use of Guildhall for Band practices by Shaftesbury Town Band tStafford and District Arts Counci l Grant of £100 and a guarantee against loss of £40 0 from Stafford Borough Counci l *Swindon Arts Centre Wholly financed and run by Swindon Corporation , amounting to approximately £3,000 per annu m *Weymouth and South Dorset Arts Centre Rent concession for use of Arts Centre premises an d seven years' lease ARTS CLUB S tAlfreton and District Arts Association £25 grant from Alfreton U .D .C. Billingham Association of the Art s £50 grant from Billingham U.D.C. *Blandford Arts Club Nil *Chippenham and District Society of Arts £60 guarantee Cowes and District Arts Associatio n Free use of school hall for club activities Crewe and District Music and Arts Club Guarantees of £25 for each of two concerts . No call was made against these *Crewkerne Arts Clu b Nil The Cromer Society Nil Eston and Ormesby Guild of Art s £10 from Eston U .D.C. Frodsham Music and Arts Clu b Nil Hartlepools Arts Association A total of £287 was offered by way of guarantees b y the West Hartlepool Corporation of which £151 .10.4 was called u p Huntingdonshire Music and Arts Societ y £78 .4 .6 was received from the Local Education Authority towards three children's concerts *Isle of Purbeck Arts Club Nil tKettering and District Three Arts Club 10 guineas from Kettering Borough Council . Northamptonshire County Education Committee has waived the charge for the use of the Grammar / High Schools Hall provided that the Arts Club pay the caretaker's fee *Kingsbridge Music Club Nil tLeek and District Arts Clu b No financial help from either the Staffordshire Education Committee or the Local Authority. Free use of the former museum with lighting, heating and cleaning provided . A grant is made from the Milner Bequest which is administered b y a Committee of Councillors, but the money does not come from the rate s tLincoln Society of Arts Nil *Liskeard Arts Council Nil Marple Arts Group Nil Maryport Music and Arts Society Nil Newbury and District Arts Societ y Nil Newmarket and District Arts League £40 each from Newmarket Urban and Rura l District Council s *Members of the South-Western Arts Association tMembers of the Midlands Arts Association 118 Newport Arts Association Local Education Authority allows free use of schoo l assembly halls for concerts, meetings, etc ., except for caretaker's fees . They also help by allowin g use of the Bechstein Grand Piano for Celebrit y Recitals for a fee of one guinea plus charges fo r tunin g *Newquay Society of Arts £25 grant *Newton Abbot and District Society of Art s £15 grant each from Newton Abbot Urban an d Rural District Councils Newton-le-Willows Arts Associatio n Nil tNorthampton Arts Associatio n No assistance from the Town Council, bu t occasional free use of the Council Chamber of th e County Counci l *St . Ives S.A.M .A. Nil tSolihull Society of Arts £50 guarantee from the County Education Authorit y to the Music Section for the Music Festival i n November *Street Society of Arts Nil tTamworth Arts Club £30 from Tamworth Borough Council *Taunton Deane Arts Clu b Nil *Truro Three Arts Society Nil *Warminster Arts Club Nil tWednesbury Society of Art s £150 p.a. from the Local Authority for promotio n expenses of concerts and entertainment i n addition to which they pay the Civic Choir' s Musical Director's salary . The Art Gallery i s made available free of charge (four rooms) * Weston-super- Mare Society of Art s Nil West Wight Arts Associatio n Free use of West Wight Secondary School Hal l Whitby Three Arts Club Nil tWolverhampton Civic Hall Arts Society Free use of the Wulfrun Hall for monthly meetings of the arts societies, together with additiona l facilities when required . Secretarial assistance tWorcester S .A.M .A . Nil Worsley Art and Music Society £50 received from Worsley U .D .C . Free use of th e Technical College for meetings *Members of the South-Western Arts Associatio n tMembers of the Midlands Arts Association

SCOTLAN D MUSI C Scottish National Orchestra Society Ltd . (For detailed list of grants totalling £38,446 .6 .0 see below) Ayr Music Clu b £41 .10 .0 from Ayr County"Education Committee Dunedin Society £50 for South African Music Group Festival fro m the Glasgow Corporatio n Glasgow Grand Opera Society £100 from the Glasgow Corporatio n The College of Pipin g £50 from Glasgow Education Committe e Stewartry Music Committee Free use of schools for rehearsals and performance s Thurso Choral Society £20 grant from Caithness Education Committee

DRAMA Glasgow Citizens' Theatre £2,500 from the Glasgow Corporatio n Perth Repertory Theatre Rent concessions to touring company from Burgh s of Kirkcaldy and Dalbeattie

119

FESTIVAL Edinburgh Festival Society Ltd . £15,000 from the Edinburgh Corporation

ARTS CENTRE S Inverness Arts Centre Local Education Authority have given indirec t assistance amounting to £250. As tenants of the Arts Centre the Education Authority guarante e the economic rent of £300 to the owners of th e building, i .e. Inverness Town Council . As sub- tenants the Arts Centre Committee pay a restricted rent of £50 to the Education Authority . This arrangement has operated unchanged sinc e 1951 . Greenock Arts Guild £1,000 from Greenock Corporation.

Scottish National Orchestra Society Ltd. Aberdeen Corporation £3,060 Glasgow Corporation £20,13 0 Aberdeen County Council £50 Grangemouth Burgh £20 Airdrie Burgh £10.10 .0 Greenock Burgh £250 Alloa Burgh £2 .2 .0 Hamilton Burgh £5 Angus County Council £10 .10 .0 Hawick Burgh £1 5 Arbroath Burgh £20 Helensburgh Burgh £50 Ardrossan Burgh £2 .2.0 Huntly Burgh £5 .5.0 Ayr County Council £50 Inverurie Burgh £5 Ayr Burgh £150 Inverness Burgh £27 5 Barrhead Burgh £25 Irvine Burgh £3 .3 .0 Bathgate Burgh £5 .5.0 Johnstone Burgh £5 .5 .0 Bo'ness Burgh £2 .2.0 Kilmarnock Burgh £1 0 Buckie Burgh £5 .5.0 Kinross Burgh £2.2 .0 Burntisland Burgh £2.2.0 Kirkcaldy Burgh £5 0 Caithness County Council £5 Kirkcudbright County Council £10.10 .0 Carnoustie Burgh £3.3 .0 Kirkcudbright Burgh £5 .5 .0 Castle Douglas Burgh £5 .5 .0 Kirkintilloch Burgh £10.10.0 Clackmannan County Council £10.10.0 Kirkwall Burgh £2 .2 .0 Clydebank Burgh £50 Lanark Burgh £ 5 Coatbridge Burgh £100 Lanark County Council £1,00 0 Cowdenbeath Burgh £2.2 .0 Leven Burgh £ 5 Crieff Burgh £5 .5 .0 Lochgelly Burgh £2 .2 .0 Cumnock Burgh £2.2 .0 Lossiemouth Burgh £2 .2 .0 Dalkeith Burgh £5 .5 .0 Markinch Burgh £1 .1.0 Denny and Dunipace Burgh £2 .2 .0 Midlothian County Council £25 0 Doune Burgh £1 .1 .0 Miingavie Burgh £10.10.0 Dumbarton Burgh £24.10.0 Montrose Burgh £2 .2.0 Dunbarton County Council £100 Motherwell Burgh £25 Dumfries Burgh £25 Musselburgh Burgh £5 .5.0 Dundee Corporation £3,060 Nairn Burgh £2 .2.0 Dunfermline Burgh £100 Newton Stewart Burgh ' £5.5 .0 Dunoon Burgh £10.10.0 Paisley Burgh £10 0 East Lothian County Council £10 Perth Burgh £10 0 Edinburgh Corporation £8,750 Perth & Kinross County Council £20 Elgin Burgh £10.10 .0 Prestwick Burgh £25 Falkirk Burgh £25 Renfrew Burgh £25 Fife County Council £100 Renfrew County Council £5 0 Fraserburgh Burgh £5 Rutherglen Burgh £10 .10.0 Galashiels Burgh £5 Saltcoats Burgh £2.2 .0 120

Sanquhar Burgh £1 .1 .0 Tillicoultry Burgh £2 .2 .0 St. Andrews Burgh L35 Turriff Burgh £2 .2 .0 Stirling Burgh £25 West Lothian County Council E25 Stirling County Council £26 .5 .0 Wigtown County Council £10.10 .0 Sutherland County Council £5 £38,446 .6.0

WALE S MUSI C Swansea Festival of Music and the Arts Swansea Corporation £700 paid (Grant £500 and guarantee against loss £1,000) Montgomery County Music Festival Montgomeryshire County Council £400 (Welsh Church Fund) Dee and Clwyd Festival of Music Merioneth County Council £50 (Welsh Church Fund) Denbighshire County Council £75 (Welsh Church Fund) South Wales Combined Choirs Festival, Port Talbot Corporation £20 Swansea Neath Corporation £25 Royal National Eisteddfod of Wales, Llangefni Anglesey County Council £2,000 Caernarvonshire County Council £35 0 Merioneth County Council f50 Welsh National Opera Company Ltd . Glamorgan County Council £3,00 0 (Welsh Church Fund) Monmouthshire County Council £1,00 0 (Welsh Church Fund) Carmarthenshire County Council £100 (Welsh Church Fund) Cardiff Corporation £1,00 0 Swansea Corporation £1,00 0 ART Contemporary Art Society for Wales Anglesey County Council £20 Breconshire County Council £25 Glamorgan County Council £100 Pembrokeshire County Council 115

121 APPENDIX F SOME SELECTED INSTANCES OF PRIVATE AND INDUSTRIAL PATRONAG E OF THE ARTS

To illustrate the reference to Industrial Patronage in the opening chapter of the Report, some instances of private and industrial patrons of the arts have been gathered together in this Appendix .

VISUAL ARTS A number of different firms have spent money on schemes connected with the visual arts-e .g. : Ind Coope & Allsopp Ltd. Organised exhibition `Artists of Today' by living British artists, shown in public houses in Londo n and elsewhere, 1952 (proceeds to charity). Organised second touring exhibition 'The Artist and the Pub' ; two 'purchase' prizes (i .e. winning pictures became property of sponsors) of £100 each (judges : two independent, one from Ind Coope) 1954 . Shell Petroleum Co. Ltd. Young artists in Britain, France, Holland, Italy, Germany and Switzerland invited to make paintings o r drawings of any aspect of the oil industry (Shell) . Resulting exhibition 'The Artist's View of Industry ' shown at the Royal Watercolour Society Gallery, London, 1955, and selections afterwards toured i n Britain (Arts Council) and elsewhere. J. Lyons & Co . Ltd. Commissioned three series of lithographs from British artists, 1947, 1951 and 1956 . These are on view in Lyons Teashops, and are on sale to the public. The artists received £25 for preliminary sketch, fee for finished painting or auto-lithograph and royalty of 6d . on each lithograph sold . (Cost of scheme to date approximately £3,000) . Further series will be commissioned . Time-Life International Ltd. Carved frieze and bronze reclining figure by Henry Moore, painting by Ben Nicholson, iron sculptur e by Geoffrey Clarke and relief over entrance by Maurice Lambert commissioned for Time-Life building, New Bond Street, London, 1952 . John Moores (Littlewoods Ltd.) Sponsored with Liverpool Libraries Museums and Arts Committee, exhibition of paintings and sculptur e in Walker Art Gallery, Liverpool, 195758 . Open to artists working in the United Kingdom . Prize money totalled £4,200, of which £3,100 awarded as 'purchase' prizes, viz . (a) £2,250 open to all artist s and (b) £850 to artists under 36 years . Independent judges. Lewis's Ltd. Commissioned life-size bronze by Epstein for front of store in Liverpool .

THEATRES It has already been pointed out in the opening chapter of the Report that contributions are sometime s directed towards prestige-advertising . This is particularly the case with an undertaking like Glyndebourn e Festival Opera, which has built up a large body of regular industrial and business patrons . Similarly, Schweppes Ltd . spent £1,000 on prestige-advertising in connection with the English Stage Company' s production of The Sport of My Mad Mother . Mermaid Theatre An outstanding example of a theatre that is being built almost entirely through contributions b y commercial and industrial interests is the Mermaid Theatre, Puddle Dock, in the City of London . It i s 122

calculated that a total of about £61,000 will have been raised by the time the theatre is opened in th e spring of 1959. At mid-summer, 1958, the position was that contributions had been received from 3 1 City Livery companies ; the Bank of England and the Big Five ; 34 other banks and finance houses ; th e Baltic Exchange ; Lloyd's ; The Stock Exchange ; 59 shipping and transport companies ; 30 insurance companies ; 15 charitable trusts ; 34 stockbroking firms ; 15 engineering and construction firms ; 17 pape r companies ; 4 breweries ; 4 building societies ; 7 oil companies ; 4 newspapers; 22 organisations ; 11 4 other firms. Donations ranging between £100 and £5 ;000 had been received from the following commercial and industrial contributors :- The Edmund Howard Charity Barclays Bank Ltd . Decca Record Co . Ltd . Charrington & Co. Ltd . Shell-Mex and B .P. Ltd . Cazenove and Co . The Times Publishing Company John Lewis Partnership Ltd . Unilever Ltd. J. Sainsbury Ltd . Warwick Film Productions Ltd . Andrew Weir Shipping & Trading Co . Ltd . Associated Television Ltd . Associated Electrical Industries Ltd . Shell Petroleum Co . Ltd . Baring Bros and Co . Ltd . Hugh Fraser (The House of Fraser) Boots Pure Drug Co . Ltd . Goldsmiths Company Burmah Oil Co . Ltd . Whitbread and Co . Ltd . Cable and Wireless (Holding) Ltd . United Baltic Corporation Ltd . Courage and Barclay Ltd . British Commonwealth Insurance Co . Ltd Dunlop Rubber Co. Ltd . British Petroleum Co . Ltd . English, Scottish and Colonial Investment Co . Tube Investments Ltd . Gillette Industries Ltd. Andrew Weir (London) Ltd . Hulton Press Ltd . Andrew Weir Insurance Co . Ltd . Imperial Chemical Industries Ltd . MacAndrews and Co . Ltd . Regent Oil Co . Ltd . Tate and Lyle Ltd . Morgan Grenfell and Co. Wallace Bros . & Co . (Holdings) Ltd . Midland Bank Ltd . Crittall Manufacturing Co . Ltd . Metal Box Co . Ltd . Adamsez Ltd . C. T. Bowring and Co. Ltd . Marley Tiles Co. Ltd . F. Austin (Leyton) Ltd . Middlesbrough Little Theatre. When the Committee responsible for the building of the Middlesbrough Little Theatre (opened i n October 1957 by Sir John Gielgud) launched an appeal for funds, they succeeded in raising abou t £50,000, of which about £5,500 was contributed by about 60 industrial and-commercial firms,the larges t amounts being as follows : I .C.I. Ltd . £1,500 Smith Dock & Co . Ltd . £200 Lord Kemsley (Kemsley Newspapers) £1,000 National Benzole Ltd . £100 Dorman, Long & Co . Ltd . £500 Amos Hinton & Sons Ltd . f 100 Warner & Co . Ltd . £275 Middlesbrough Chamber of Trad e Furness Shipbuilding Co . Ltd . £225 Trust Fund £100 Tees Towing Co . Ltd . £200 Cochranes (Middlesbrough) Foundry Ltd . £100

DRAMA COMPANIES The following are examples of some of the drama companies that have enjoyed private and industrial patronage : Derby Little Theatre Club Rolls Royce £4,500 British Celanese £800 Qualcast Ltd .' £250 international Combustion Ltd . £200 Sheffield Repertory Co . Ltd . £100 Various Business Houses £184

123

English Stage Co. Ltd. Encyclopaedia Britannica £1,000 promised for play competition Lincoln Theatre Association Ruddock & Co. Ltd . £10 0 Pennell & Sons Ltd. £100 W . A. L. Kime £50 Smith Clayton Forge £50 0 Melton (Printers) £2 5 Wingad & Son Ltd . £2 5 Neale Bros. Ltd . £100 Barkers Lee Smit h £75 0 Loans for purchase of theatre Lincoln Co-op Society Ltd. £50 Penney & Porter Ltd . £10 0 Ruston Bucyrus Ltd . £40 0 Ruston & Hornsby. Ltd. £1,000 Jointine Products Ltd . £100 Sundry £100 Margate Theatre Trust Ltd. J. Baxter Somerville ~ } Gifts Theatre Royal Supporters' Club £60 0 Various business me n £600 Interest-free loans repaid during the summer of 1957 . Sheffield Repertory Co . Ltd. Sir Stuart Godwin £5,000 Gift Sir Stuart Godwin £15,000 Loa n for rebuilding the theatre Glasgow Citizens' Theatre Sir Frederick Stewar t £10,000 For ren t Sir Maurice Bloch £5,000 To set up the Maurice Bloch Trust for encourage- ment of new Scottish writers

POETRY The firm of Arthur Guinness, Son & Co . has shown itself aware of the importance of poetry, and has made awards of £300, £200 and £100 for the three best poems in English by living authors, published i n print for the first time in Great Britain and Ireland during the twelve months July 1956 to June 1957 . The prize-winners were Vernon Watkins, C . Day Lewis and Roy Fuller ; and consolation awards were made to David Gascoyne and Frank Kendon. Similar awards are being made for the period July 195 7 to June 1958 . They also provided prizes of £75, £50 and £25 for poems submitted to the 1957 Cheltenha m Festival of Art and Literature competition . The winners were Paul Dehn, Randolph Stow and Lawrenc e Whistler. Similar prizes are being offered for the 1958 Festival competition.

124

ART PANEL

Sir William Coldstream, C.B .E. (Chairman) Edward Ardizzone, A.R.W.S. H . D. Molesworth John Russell Reg Butler, A.R.I.B .A. Henry Moore, C .H., D.Lit., Hugh Scrutto n The Lord Cottesloe, C.B., D .L., J .P. A .R .I.B .A . Mrs . Somerville, O.B .E . Trenchard Cox, C.B .E., F.M .A. Benedict Nicolson, M .V .O . Keith Vaughan Clifford Ellis Roland Penrose Dr. Mary Woodall, F .M.A . James Fitton, R .A . Dr. Nikolaus Pevsner, C .B .E . Professor Lawrence Gowing, Bryan Robertso n C .B.E . Claude Rogers

DRAMA PANE L

Berm W. Levy, M.B .E. (Chairman) Miss Elizabeth Barber Richard Findlater Derek Salberg Michael Barry, O .B.E . Derek Granger Glen Byam Shaw, C.B .E. W yard Brown e Alec Guinness, C.B .E. Stephen Thoma s John Clements, C .B .E. Miss Celia Johnson, C .B.E . John Whiting Professor Nevill Coghill Stephen Mitchel l Hugh Willatt George Devine, C.B .E. General Sir William Platt, Miss Irene Wort h Professor Bonamy Dobree, O .B .E. G.B.E ., K.C .B., D .S .O.

MUSIC PANEL

Professor Anthony Lewis (Chairman) Sir Thomas Armstrong, D .Mus . Trevor Harvey Sir William McKie, M .V .O ., Dr. Eric Blom, C.B .E. R . J . F. Howgill, C .B .E . D .Mus. Clive Carey, C .B .E . Dr . Gordon Jaco b Robert Noble B . Winton Dean Geraint Jones Manoug Parikian Miss Astra Desmond, C .B .E. Professor Ivor Keys, D .Mus . The Baroness Ravensdale John Gardner Miss Seymour Whinyates, O.B.E. Leslie Woodgate

POETRY PANEL

Joseph Compton, C.B .E . (Chairman) Patric Dickinson Roy Fuller Miss Janet Adam Smith Professor Bonamy Dobree, O.B .E. J . C. Hall Miss Helen Spalding Christopher Fry Christopher Hassall Terence Tiller Louis MacNeice, C.B.E.

Printed in Enr,and at The Baynard Press J