Memorandum submitted by the Central Council
for Amateur Theatre
1. INTRODUCTION
1.1 The Central Council for Amateur Theatre
(CCAT) was formed in 1975 as the forum for the various umbrella
bodies concerned with Amateur Theatre throughout the UK to meet
and discuss issues of concern and interest to the voluntary theatre
sector serving the needs of local communities. The Central Council
monitors legislation and issues advice in order to ensure that
local theatre companies operate safely and are able to enjoy their
chosen leisure time activity. CCAT has liaison arrangements with
Arts Council England and meets regularly with the Drama Director.
1.2 Current membership of CCAT includes:
The All England Theatre Festival (AETF)
The Drama Association of Wales (DAW)
The Guild of Drama Adjudicators (GODA)
The International Theatre Exchange (ITE) the
UK Centre of the International Amateur Theatre Association (IATA)
The Little Theatre Guild of Great Britain (LTG)
The National Drama Festivals Association (NDFA)
The National Operatic and Dramatic Association
(NODA)
The Religious Drama Society of Great Britain
(RADIUS)
The Society for Teachers of Speech and Drama
(STSD)
2. THE INQUIRY
2.1 CCAT meets on a quarterly basis and
regards a consultation period of 25 days, including the Christmas
and New Year periods, as totally inadequate to obtain definitive
views on the wide-ranging questions raised. The serious intent
of the Committee to hold a meaningful inquiry must be called into
question. The comments contained in this response have been prepared
for consideration at a meeting of CCAT on 20 January and further
views may be submitted after that date. There will in any event
be no opportunity to consult within the member organisations in
the time-scale required.
2.2 The Committee will be aware that virtually
every community in the UK is served by an amateur theatre company.
There is evidence that only about 20% of those companies belongs
to an umbrella organisation. A recent (2003) survey of companies
belonging to two umbrella bodies (NODA and LTG) showed that 3,000
companies present more than 30,000 performances each year to audiences
totalling approximately 8 million and with an annual turnover
of some £39 million per annum. Although it would not be appropriate
to extrapolate these figures to 100% of companies as the larger
ones are likely to belong to umbrella bodies, there are indications
that the voluntary theatre sector contributes significantly both
to the cultural well-being and the economy of their localities.
3. PATTERN OF
PUBLIC SUBSIDY
3.1 Apart from funding given to the National
Association of Youth Theatres, the voluntary theatre sector in
England has never received any core funding from Arts Council
England. The situation in Wales and Scotland has been different:
DAW received £123,000 from Arts Council Wales in 2003-04
and until this financial year the Scottish Community Drama Association
(SCDA) also received funding of nearly £50,000 per annum
from the Scottish Arts Council. The withdrawal of that funding
without notice was the subject of representations which were,
in part successful. However, we believe that such withdrawal of
funding is a retrograde step. In England, a feasibility study
is being undertaken to examine whether there is a need for a Drama
Association on the same lines as DAW and SCDA. Clearly the funding
issue will be at the centre of the study and, given the emphasis
on support for the work of the voluntary sector in Government
pronouncements, one might expect some modest funding could be
made available.
3.2 In the wider context, many amateur companies
received assistance with capital projects in the early days of
the National Lottery. The near cessation of the Capital programme
and the use of the National Lottery as a replacement of what should
be core funding is to be deplored and many projects which will
enhance theatre provision, particularly by ensuring compliance
with legislation, including the Disability Discrimination Act,
are left in abeyance. The recently announced stand still in ACE
funding for theatre represents a real terms cut and will have
consequences both for the professional and amateur sectors. However
if there is a choice to be made, it is inevitable that the voluntary
sector will be the first to suffer. "From they that have
not, it shall be taken away, even that that they have"
3.3 The situation in Wales causes even more
concern. If, as has been suggested, the Assembly disbands the
Welsh Arts Council and takes the powers to itself, it will represent
a reversal of the arms length principle that has served the arts
so well since the formation of CEMA during the second world war.
All funding will become a matter of party politics and patronage
will depend on toeing the right line. CCAT and the amateur theatre
sector in general are absolutely opposed to this development,
which places at risk the whole of the cultural agenda in the Principality.
It is disquieting that similar moves may follow in Scotland under
devolution and that political patronage may be seen to be more
important that artistic independence.
4. THE PERFORMANCE
OF THE
ARTS COUNCIL
4.1 We have already referred to the three
Arts Councils in section 3. CCAT has always found Arts Council
England open to discussion and we believe that they have an understanding
of the needs of the Voluntary Sector. We recognise that financial
assistance is given to the Arts generally via the Voluntary Arts
Network and to the amateur music sector. We still fail to understand
why theatre is discriminated against and believe that some modest
funding should be made available to assist us in the task we undertake
in giving advice, providing training opportunities and coordinating
the effort of volunteers in the amateur theatre field.
4.2 We have also referred to the National
Lottery and the failure of ACE to continue and develop the Capital
Programme which proved to be so useful to amateur theatre in the
early days of the lottery. The recent announcement of a standstill
in theatre funding will undoubtedly put at risk the exciting developments
in professional theatre that resulted from the increased funding
made available as a result of the earlier review. It would be
more than disappointing if the cutting edge of theatre were to
be blunted.
5. MAINTENANCE
AND DEVELOPMENT
OF BUILDINGS,
NEW WRITING
AND NEW
PERFORMING TALENT
5.1 Reference has already been made to theatre
buildings. There are more than 100 theatre venues owned or controlled
by amateur companies, the majority of which are members of the
LTG. Many are listed buildings and all need regular maintenance
schedules. New legislation affects these schedules and much work
has been undertaken in recent years to ensure physical compliance
with the Disability Discrimination Act. Now the new Licensing
regime will place further pressures on those responsible for the
buildings and additional Health and Safety requirements add to
the burden. The voluntary sector has probably been as ready as
any to meet all of these requirements, but, as has been indicated
earlier, the virtual cessation of all Capital Programmes of any
significance has borne heavily on the progress that can be made.
5.2 The voluntary sector has always been
a supporter of new writing for the theatre. Many of the CCAT member
bodies arrange regular play writing competitions and, in 2004,
Arts Council England published a Guide to New Writing for the
Amateur Theatre, in collaboration with CCAT and the Writers' Guild.
Opportunities to perform new work are however limited. Rights
holders will not permit amateur performance of new work while
there is a prospect of West End Production, or until the Regional
professional sector has had an opportunity to perform the work.
Work can therefore be up to five years old before it can be performed
by amateurs, and permission to perform can be withdrawn overnight
if a West End revival is contemplated. This applies equally to
musical theatre.
5.3 Amateur Theatre is the traditional breeding
ground for new talent. Many amateur companies support their own
Youth groups who either perform in their own productions or take
part in the normal run of company shows. The training which is
given results in a life-long love of theatre, and, when talent
and determination combine, a desire to join the professional ranks.
Virtually every professional actor will talk of beginning as an
amateur either at school, at University or in a local community
company. In striving for excellence, CCAT and its member bodies
encourage high standards of training. Unfortunately current lack
of resources means that we are unable effectively to coordinate
training opportunities and this is one matter which would be addressed
by a Drama Association for England if it were to be established
with adequate, yet modest, financing.
6. THE SIGNIFICANCE
OF THEATRE
AS A
GENRE
6.1 Others will give numerous examples of
the significance of theatre to the cultural life of the UK, both
nationally and in the regions. So far as the voluntary sector
is concerned, the opportunity that is given for adults and young
people from all walks of life is invaluable to the life of communities.
Theatre erects no barriers of class, colour, religion or age.
All are who wish to become involved are equal and can find an
outlet for talents, whether they be in performing, construction,
technical matters or administration.
6.2 Theatre in London is a major contributor
to the economy, attracting tourists from overseas. It is also
an established fact that the existence of a theatre in a community
is a positive incentive to firms wishing to relocate. The town
with a thriving theatrical scene will always win over the cultural
desert if there is a choice.
6.3 Amateur Theatre contributes significantly
to the economy because of its purchasing power. Playwrights, publishers,
costumiers, stage lighting and sound equipment suppliers and all
other trades connected with theatre depend significantly on the
amateur theatre for income. Nearly 20% of turnover is spent on
purchase of scripts and royalties: Musical Companies employ directors,
choreographers and musical directors as well as orchestral performers:
Commercial theatres rely on amateur companies to provide "safe"
weeks when their income is secured by hiring out the venue rather
than having to take the risk of buying in a professional show.
In this way the amateur sector actually subsidises the professional
theatre. And finally, amateur enthusiasts are the most devoted
audiences to all forms of theatre.
6.4 We therefore believe that the voluntary
sector is an essential part of the cultural fabric of the UK.
7. EFFECTIVNESS
OF PUBLIC
SUBSIDY
7.1 The effectiveness of public subsidy
for the Arts is not something that can be measured empirically.
The effect of public subsidy is to allow the artist freedom to
experiment and to challenge. It also gives opportunities to improve
forms of governance to ensure that effective administration supports
artistic effort and the creative artist does not have to spend
time fighting to support the work being developed by personally
arranging venues, negotiation contracts etc.
7.2 The amateur and voluntary sector has
traditionally not been given public subsidy and depends on the
goodwill of volunteers from all walks of life. At national level,
matters would improve considerably if some modest subsidy were
given to support the whole sector. Locally, individual companies
have different levels of contact with their local authorities
but gain little recognition from either the Regional Centres of
ACE or from the Regional Cultural Consortiums, which appear to
be a complete waste of public money with no influence and little
function. A great step forward would be achieved if they were
immediately disbanded and the finance they swallow up were to
be diverted to making things happen.
8. CONCLUSION
The Central Council for Amateur Theatre have
welcomed the opportunity to make a submission to the Culture Media
and Sport Committee. These comments should be regarded as preliminary
comments subject to further discussion in the Council on 20 January.
We look forward to hearing further from the Committee and are
willing to expand as necessary on any of the points made.
January 2005
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