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May I respond specifically as a writer, who has written for young peoples theatre,and community theatre in Wales. The proposal to halve the number of companies, cannot by any computation present more opportunities for writers and new writing even if the remaining four companies are better funded. Half the number of companies will not reach more young people and give them more access to theatre. It does not add up. The amount of extra money given to the four 'Franchised companies' isn't enough to make it happen. This is not a strategy therefore, its a cut . The monies which could keep the companies going is being given to two large WNPCA, including Theatre CIwyd. The majority of new writing opportunities in my experience have come through the young peoples and community theatre sector. These are the companies under attack and by definition so are those people who go to village halls and community centres to see plays rather than to theatres. Looking back at my CV you will see which companies have actually supported my Artistic life in Wales by offering commissions for original work : Gwent Theatre- 8, Hijinx theatre 5 , Sherman Theatre 4, Made in Wales 3, Powys Theatre 2, Spectacle Theatre 1 ,Theatre CIwyd 0. Theatre CIwyd recently told me they were not commissioning any new work at all, from anyone. The idea that this company with its deplorable track record in this area is to be rewarded at the expense of the others and is to become one of our flagship companies in this respect, defies belief. My gut reaction to the proposals is that once again a large company continually in deficit is soaking up the money that should be supporting those companies and those artists who have in reality been the National theatre of Wales. Their reward however is to consider,'Winding down operations,' a heartless and revealing phrase which in reality means that people who have served the arts in Wales for many years are to be sacked. The manner in which this is to happen is the, 'Franchise system,' which I have seen operate in England by which the companies are asked to compete for funds and in effect cut each other So an alternative; My proposals for cuts, (if that is the only solution) would not be the wholesale slaughter of the smaller companies recommended in this document. It is the concept of these two large WNPCA's that I challenge. The creation of the eight YPT companies came from a very different political base and idea about an and who its for. Their creation reflected the idea that an was made with and through the people of Wales , that the art would be responsive to each locale, rather than handed down from more remote centres of excellence, turning the audiences into consumers of art product. The eight YPT\community companies have and could yet provide a real structure for the lives of artists in Wales. Project grants cannot do this, nor can they provide realistic time scales to plan and commission and create from New writing, which is a long process. My proposals would be be based on an acknowledgment that change is necessary, that standards need to be higher. Also an acknowledgment that the companies who are targeted but not named (except Hijinx) in the document as having let standards fall have maintained a level of output of a very high standard against the odds, on very low pay. There is clearly a relationship between a fall in funding and a fall in the ability to challenge artistically. These companies need to be allowed to expand- that is the change that is needed. That would be a strategy. It is unfortunate that the document infers that the revenue YPT"community companies are somehow responsible for not allowing more experimental theatre and fresh talent into the system. The eight companies provide a bedrock, a mere minimum of theatre provision in Wales. Demand for their work far exceeds what they are able to achieve. This indeed should be added too by other groups offering alternative voices. Rather than stifling other peoples opportunities the revenue companies can provide (and have historically provided] the structure in which many different, "projects," can flourish. Artistic leadership could be more flexible and exciting, boards more demanding-if the companies are going forward. Once they are cut, presumably taking a significant amount of Local authority funding with them they cannot be reborn. I am not, of course, against the idea of creating well funded companies that can do everything that the document at 4.2.2 hopes they would do. I am against their creation at the expense of the other companies. -------------------------------------------------------------------------------- Hijinx Theatre. ln terms of new writing ,Hijinx Theatre, has consistently supported New writing and actually produced and toured new plays. This is the only litmus test of any worth as far as a writer and thence actors , directors and designers are concerned. The company is once again on the edge of change. It is my belief that with the right support from the Arts council, Hijinx theatre could develop over the next five years into an internationally recognised physical and music theatre of the highest quality. If the Arts council believe that this hasn't happened because of a lack of dynamic leadership why hasn't it made clearer to the company what it needs to do to continue revenue support? From a theatre writers point of view the flexibility of process combined with a very fine theatre History which Hijinx offers is in my opinion much more important to the creation of new work than the comparative inflexibility of an institution like Theatre CIwyd. It takes years to develop the kind of working practice that creates- 'miniature gems,' (the Guardian] the only question is why the Arts council has not supported the company in its desire to develop away from the miniature. -------------------------------------------------------------------------------- Sherman Theatre You ask for proposals for The Sherman theatre. The Sherman theatre under Phil Clark has produced an enormous array of structures in which new writing has happened, from Youth theatre, to lunch time plays, to Christmas shows, to main stage adult plays. So from a writers point of view the idea of its demise is once again pretty catastrophic. My own opinion is that the Sherman needs a clearer role, that its mix is confusing. I can see a future for the company as the Flagship young peoples theatre of Wales, at the heart of which is a professional young peoples theatre. But a Flagship by definition needs a fleet-which you intend to sink. In the broader sense I find it hard to believe that these companies have to be cut because of lack of funds. The amount they need for them to survive and flourish when set against the huge amounts of money swallowed up by a single set and costumes for the WNO and the demands and deficits of Theatr CIwyd, does not make sense. It is wrong. In the past ten years huge amounts of money has come into the arts, particularly for buildings rather than people. Cannot the ACW be central now in the argument to divert such monies into structures which support the lives of artists. Hold back on these proposed cuts, keep the companies going and argue for their expansion in the new Assembly. At the heart of the "changes" is an idea which feels Millennium driven - that the arts are here to sell the idea of 'Wales.' and provide Wales with Status. and a glossy portfolio. I have long sought status for theatre for young people and community theatre, but not the kind of status implied in this document. Art is not to do with status. Art is about understanding human experience and giving it expression. I believe the network of companies that you suggest dismantling, has provided and still could provide a democratic form of theatre that is truly reflective of Wales. The Status that is sought for our theatre needs to come from within . These proposed cuts signal clearly that the current ACW does not itself give YPT and community theatre the status it deserves. Production values and values are two different things. yours sincerely, Charles Way. |
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Tuesday, February 16, 1999 |
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