APPENDIX C
IMPLEMENTING THE NATIONAL POLICY FOR THEATRE
IN ENGLAND
CASE STUDIES:
1—EXECUTIVE SUMMARY
INTRODUCTION
This small, qualitative study of Arts Council
England-funded theatres was conducted by Market and Opinion Research
International (MORI) on behalf of Arts Council England. It is
the second stage of a project establishing a baseline against
which the implementation of the national policy for theatre in
England can be measured. The first stage of the project, conducted
in 2002, was a survey, published by the Arts Council as Research
report 33: Implementing the national policy for theatre in England—baseline
findings. (The report can be ordered or downloaded from the Arts
Council website: www.artscouncil.org.uk)
This is a complementary piece of work exploring
some of the issues raised in the quantitative study. The qualitative
case studies primarily looked at how theatre organisations are
implementing two of the national theatre policy's priorities:
"diversity and inclusion" and "new ways of working".
The theatres have shared with us their views on, and experiences
of, the extra funding from the theatre review and the new policy.
They have also provided examples of successful initiatives and
the challenges they are trying to meet.
METHODOLOGY
Sixteen organisations were invited to participate
in the study and were selected on the basis of the answers provided
in their questionnaire return for the baseline survey. Those chosen
were geographically spread (at least one from eight of the Arts
Council England regions) and ranged from those with a large number
of staff to those with very few, including specialist theatres
such as children's theatres. Regional and national touring companies
and producing and presenting building-based theatres were included.
None of the organisations had negative total reserves at the end
of the financial year 2001-02, and all were intending to focus
on new ways of working and/or diversity and inclusion.
A researcher spent a day with each organisation,
interviewing key members of staff and board members, to draw together
a picture of the organisation, its current working practices and
aspirations and intentions for the future. Up to six interviews
were conducted in each organisation, with a total of 62 interviews
taking place. Those interviewed included: board members and chairs
(8), artistic directors/producers (13), chief executives and executive
directors/producers (10), associate directors (three), education/training
and marketing staff (six and 10 respectively), general managers
(two) and performers (three).
MAIN FINDINGS
— There is a widespread feeling that
recent changes in the theatre industry have been hugely positive.
The national policy for theatre in England has provided a formal
framework for development and has in many cases reinforced the
theatres' objectives and strategies. Many theatres had plans and
development programmes that they have been able to implement because
of the additional funding made available through the theatre review.
— Two of the priorities identified
in the policy are "new ways of working" and "addressing
diversity and inclusion". Both are seen to be crucial to
providing theatre that is meaningful, relevant, inclusive and
accessible to everyone. It is evident that the initiatives being
run in theatres cover much more than these two areas and there
is significant overlap with other priority areas. Although theatres
may have identified two or three areas on which they are focussing
or intend to focus, they are in fact working in many more and
are constantly improving the quality and range of their productions.
— Theatres are striving to produce
an ever-wider and higher-quality programme. New ways of working,
increased investment and the resulting ability to plan over a
three-year period have contributed to improved quality and sector
development.
— Theatres are commissioning more new
writing from an increasingly diverse range of writers. This provides
new and exciting work that may attract different audiences and
may also help to encourage a greater mix of people into working
in the industry longer term.
— Education continues to be a priority
area for theatres and includes work with all ages and abilities.
Theatres are increasingly using workshops and teaching resources
that look at many aspects of the theatre, including the production
itself and the components that go into making it a success. Workshops
supporting specific productions provide insight and try to engage
audiences more fully.
— Marketing and education departments
are increasingly working together to formulate strategies and
share ideas. Many of the initiatives involve educational components
or targeting specific groups. Specialist staff in the theatres
we visited generally receive support to realise these goals from
all levels within their organisations.
— New partnerships are contributing
to the changing environment in which theatres are operating. Working
alongside commercial and public sector partners is beneficial
to both parties and many theatres are increasingly looking for
ways in which to develop these relationships.
— Projects targeted at previously under-represented
groups (both adults and children) are being tried by many theatres.
Audience development is a significant part of this, encouraging
new groups to use and enjoy the theatre and to experience a wider
range of productions than they might be used to.
— Encouraging a more diverse range
of professionals into the industry is crucial in tackling diversity
and inclusion and for developing the industry profile for the
future. Recruitment is an issue at all levels of the industry,
including board members and artistic directors. Although theatres
are actively trying to broaden the diversity of their staff it
is often seen as a struggle to do so: finding the people to fill
the positions available is felt to be difficult. Many of the theatres
are working towards encouraging more people into the theatre by
having open days and demonstrating the variety of job roles that
the theatre industry includes.
THE NEXT
STEPS
Theatres are clear that funding holds the key
to their future. They are concerned that the extra funding from
the theatre review will prove to be a short-term fix and that
the Arts Council will feel it has "done its bit" for
theatre. Many theatres started from a poor financial position
and although the money has helped them to stabilise and invest,
some consider that it is not sufficient to guarantee their survival.
The renaissance in theatre spawned by the theatre review needs
continued investment; money holds the key to the successful implementation
of the national theatre policy and the sustainable development
of theatre in England.
The Arts Council will continue to monitor the
impact of the theatre review and the national theatre policy through
the repeat collection of data gathered in the baseline survey
and further case studies exploring how the national policy is
being implemented.
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