theatre assessment 2009 Arts Council England > theatre assessment > 2 I have seen theatre change more in the ‘ last five years than in the previous 30 years…those changes have been about where we make theatre, who we make theatre for, the form that it takes, the tools that you use, and I think that theatre makers are exploring all those things in a very, very exciting way that previously has just never happened. There is now no going back. – Lyn Gardner, April 2009 ’ Arts Council England > theatre assessment > Contents 3 Contents Arts Council England > theatre assessment > Overview 4 The research for the assessment was operate, National Lottery funding supported Overview carried out during the summer and autumn the recovery and stabilisation of organisations of 2008, just as the credit crunch was facing difficulty and Grants for the arts gave beginning. The mood was therefore infected funding to many for the first time. Arts Council England embarked by fear of what was to come, even though on a Theatre Assessment to gather the period under review was one of growth. The theatre sector was changing too. an up-to-date picture of theatre Recent graduates from the burgeoning in England. In particular, we We commissioned factual analysis and number of performing arts courses were looked to identify changes that a survey of perceptions about the current developing work across artforms in non- had occurred in the theatre sector state of theatre in England. The findings theatre spaces using modern technology, of both can be found in the appendix. work for children and young people was and its environment since the becoming more mainstream, diverse work Theatre Review of 2001 and the The external context in which theatres and was slowly becoming a more regular feature additional £25 million that we theatre artists operate as well as theatre of theatre programmes, and physical theatre invested in theatre organisations practice changed substantially between was increasingly featured in the programmes from 2003 onwards. 2002/3 and 2006/7. Local and national of our major theatres. A new generation demographics were constantly changing, of artistic directors was in charge of the inflation was low, local authority budgets were regional producing theatres and they were squeezed and health and safety regulations beginning to rethink the role of a theatre proliferated. Reality TV fuelled a celebrity within its community and the theatre culture and there was new equality legislation. profession. Most Arts Council-funded theatre organisations The Arts Council had come under criticism benefited from a substantial increase in their from the sector, particularly in February grants, our touring department ceased to 2008, as the portfolio review conducted Arts Council England > theatre assessment > Overview 5 at that time was thought to lack strategic However, we believe that there are some Audiences overview. The ‘soft touch’ regime, intended emerging themes that need attention – our We need to build on the progress that has to give arts organisations more autonomy, attention and that of our stakeholders and been made in engaging with more diverse had in some cases resulted in a sense of the theatre industry: audiences and concentrate on increasing remoteness. It was therefore important to the percentage of the population that hear the views of as many people involved Risk and innovation participates in theatre. We will work with in English theatre as possible so they could We will make sure our funding and our partners at a national and regional level tell us what they felt the issues were. The processes challenge arts organisations to to promote theatre-going and encourage our resulting conversations are recorded in even greater ambition, whether they are funded organisations to focus on appropriate the Findings. working in traditional ways or discovering audience development and participation new ones. Greater exposure to international schemes, including those for children and Unsurprisingly, given the breadth of work and international influence is part of young people. our theatre portfolio, we discovered that this, as is supporting the development of consensus was rare and on many occasions new ways of working and reaching people Talent development the facts do not support the perceptions. made possible through digital technology. Ensuring that talented people and companies We included commercial and unfunded are able to achieve the training and theatre organisations in our scope, as Touring development necessary for them to create well as fellow funders, but even within our The development of a new approach to exciting and excellent work is of primary traditional catchment we found different touring is a major priority to ensure that importance to both artists and audiences. views, ways of working and understandings. audiences countrywide have access to high We will work with partners towards the quality work, touring companies and venues best possible training opportunities, and are able to plan ahead strategically and our recognise the need for our funding to investment is applied where it has most support the environments and conditions impact. that enable talent and creativity to flourish. Arts Council England > theatre assessment > Overview 6 Diversity Our response to the Findings, including an willingness to share their views, knowledge The Findings indicate some improvement analysis against the original objectives of and expertise with us. in the diversification of both the work and the Theatre Review, is in the next section. the workforce, including a considerable In November 2008, the Arts Council’s increase in the number of women in senior We intend to use the Theatre Assessment Chief Executive, Alan Davey, urged arts positions, but there has been little other to help us determine our future strategy, organisations ‘to be bold and ambitious, diversification amongst senior personnel to inform our investment decisions and to to surprise even more and not retreat into or board members. We will work to remove focus our development capacity. Therefore the ‘safe’1. This assessment has shown us barriers to diversification amongst theatre our response to the Findings focuses on the that the additional confidence and resources practitioners, the work they make and the issues that we can do something about. This the Theatre Review generated enabled many audiences they reach. does not mean that we do not value other theatre organisations to do exactly that. The data or views recorded in the Findings; they task facing us all is to keep making progress, Leadership and governance have enriched our understanding of the in spite of the economic recession, and to A successful arts organisation inevitably English theatre sector and will give us ensure that as many people as possible are has inspired and inspiring leaders at its guidance when specific issues arise. able to enjoy the results. head. We believe that the development, recruitment and support of these leaders, Our next step will be to discuss the emerging Barbara Matthews both senior staff and board members, is themes with representatives of the theatre Director, Theatre Strategy, essential for the continued health of the industry and our partners, testing them Arts Council England theatre industry. before they inform our future strategy. We will do this by September 2009. We are very grateful to everyone who 1 ‘The Courage of Funders: risk and innovation in the age of contributed to this work and for their artistic excellence’, speech to the Royal Society of Arts, 2008 Arts Council England > theatre assessment > A response to the Findings 7 The first years of the 21st century were for exploring new ways of working and A response a boom time for the arts, with increased work with greater relevance to the audiences public investment and an administration it serves.2 supportive of their role in society. to the In addition to the extra annual investment Changes in theatre practice, perhaps of £25 million invested into the regularly brought about by technological Findings funded organisation portfolio, theatre development, the influence of university benefited from our capital, recovery and performing arts courses, collaborations stabilisation programmes. Grants for the with international artists and audiences’ arts also provided more than £56.4 million enthusiasm for challenging and unexpected to theatre organisations between 2003/4 work3 have resulted in a period of and 2006/7. Theatre organisations also extraordinary creativity. There has been received substantial public investment an increase in energy and quality that through local authorities and regional commentators on English theatre have development agencies. noted4 and celebrated. The investment of additional funds There remain some theatre organisations provided greater security, which has that have not challenged themselves led to a more confident and energised robustly to be the best they could.5 theatre sector. They have not discovered how best to fulfil As a result there is more innovation, risk- their obligations to the communities they taking and entrepreneurship, an enthusiasm serve or to challenge themselves to higher 2 Findings 3.2.3, 3.3.2 4 ‘In these days of greed and gloom, our theatre other “creatives” have recently picked up no Tony awards out of a total of 111.’ 3 Findings: 3.1.2, 3.1.16, 2.5.5, 2.5.8 seems like a beacon in the long dark night of fewer than 39 nominations for New York’s Spencer, Charles, Daily Telegraph, May 20 the nation’s soul. British actors, directors and 5 Findings: 3.1.2 Arts Council England > theatre assessment > A response to the Findings 8 levels of achievement. As a result, their 1. Arts Council England’s relationships make work and attract audiences. audiences have not developed as much with our funding partners and the We addressed the situation through our as those of more adventurous organisations. theatre sector recovery and stabilisation programmes and We do not advocate change for change’s increases in grants since 2002/3 to most sake, but theatre organisations that regularly a.