1. GENERAL COMMENT
1.1
The City and County of Swansea recognises and welcomes the ACW’s initiative as part of its policy and expenditure review to develop a Strategy for Drama in Wales.
1.2
In response to the publication of the Draft Drama Strategy for Wales, as a constituent member of the Mid and West Wales Area Committee of the ACW, the City and County of Swansea hosted a meeting of representatives involved with cultural and drama provision in the region on Tuesday, 23rd February at which the ACW Artform Development Director, Senior Officer Drama and Dance and the Head of the West Wales office of the ACW were also present. This response confirms the views expressed at this meeting partly by agreement with the attendees, as a collective response but also it details the response of the City and County of Swansea. Each representative organisation in addition agreed to submit an individual response to the ACW. This written response serves to reinforce the comments made at the meeting.
1.3
The ACW’s must ensure its commitment to consulting with the sectors directly involved with the provision of drama because this is a critical element to ensure that the Strategy balances artistic vision with the needs, aspirations and expectations of the various communities in Wales.
1.4
The Strategy emphasises the concern that the current drama infrastructure is inadequate and that diversity and quality must be achieved within a sustainable framework. The Strategy recognises the aspirations of the partners in Wales involved in drama provision and of the need to develop effective strategic links between producers and presenters. The City and County of Swansea endorses this approach.
1.5
The ACW must give greater recognition to the pivotal role to be played by the Local Authority sector as major funders and facilitators of drama activity and funders and partners in Theatre in Education. It is unfortunate that it appears that not all Local Authorities in Wales have been consulted on the Draft Strategy. And doubly unfortunate that the six week consultation period does not take account of Local Government Committee cycles and thus allow them to make a proper corporate response. It is also difficult to accept the time of the introduction of the Strategy just two months prior to the establishment of the Welsh Assembly which would also have a view on this important issue.
1.6
The proposals outlined in the Strategy paper have very serious implications for the development and provision of drama in Wales. The ACW reports that the paper is based on a wide consultation undertaken over the summer and autumn of 1998 on all aspects of arts policy. Assurance is sought as to whether this includes the views of all Unitary Authorities in Wales and the WLGA. The appendix contains an analysis of responses to Professional Theatre provision for Young People in Wales but only refers to ten Local Authority partners and two umbrella groups.
1.7
The ACW in Section 8.2 of the Drama Strategy voices the concern across the Arts in Wales of the lack of informed critical fora for debate and discussions. The consensus of opinion which emerged from the meeting held in Swansea on the 23rd February was that the consultation period from the 21st January to 1st March did not adequately serve to promote debate, discussion and consultation on drama and theatre in Wales. It has not been possible, for example, to convene meetings and collate responses from schools and community groups which will be affected by the proposed changes.
1.8
The view held by the City and County of Swansea and by the five other Local Authorities represented on the Mid and West Wales Area Committee is that a final decision be deferred for 12 months. This will allow adequate time to enable for the wide-ranging debate and considered response that this important strategic document deserves
2. SPECIFIC ISSUES
2.1
One of the core outputs of the ACW Strategy is the proposal to establish two building based National Theatre companies located in Bangor and Mold. It is surprising given the aspiration to establish these companies as Welsh National Performing Arts Companies (WNPAC’s) that no hint of this was given in the July document. Six weeks does not give adequate time to consider such fundamental proposals. The WNO and BBCNOW receive substantial funding support from outside Wales. A considerable proportion of the audience for Clwyd Theatr Cymru live in England. In view of the discrepancy between the Government’s increase in grant aid to the Arts Council of England with a 15% increase compared to 2.5% allocated to ACW, the proposal should consider support from ACE or the regional arts board in England.
2.2
The Strategy offers no adequate rationale for the creation of a National Theatre for Wales. We question whether the establishment of two monolingual WNPAC companies based on existing facilities is the right model. Do the proposals truly reflect the needs of Wales, the development of drama in Wales and the existing theatre provision in Wales. To suggest that both WNPAC companies be based in one geographical region does not offer a sustainable solution, in terms of demographics and accessibility.
2.3
The proposal introduces a false division between different forms of theatre in that there is no clear rationale for there to be separate companies responsible for the two languages. One of the strengths of local experience has been an integrated bilingual approach. The National Youth Theatre of Wales abandoned the separate company for the Welsh language due to constant comparisons and unfounded accusations of unequal treatment. Both the Welsh language and English language work was strengthened by combining both companies.
2.4
At the meeting held in Swansea on the 23rd February, 1999 the fact that the provision of the two companies based in Bangor and Mold would not have priority “in either funding or actual role” (Section 4.2.6) raised particular concern especially in light of the ACW’s own language policy. Given that the Welsh language theatre will be receiving considerably less money than the English language WNPAC will it be second class? Are both these acceptable to the Welsh Language Board?
2.5
Whether or not Clwyd Theatr Cymru is designated the National Theatre for Wales - it has assumed that role - without it seems to us adopting any of the concomitant responsibilities that attach to the investment of considerable amounts of public subsidy. The consultation paper needs to address this anomaly.
2.6
In responding to this key proposal the City and County of Swansea with full support from our Mid and West Wales colleagues, does not consider it appropriate to offer alternative models without adequate and detailed debate at a national level on the principles and philosophy underlying the creation of a National Theatre.
2.7
It also considers that if this debate resolves upon a National Theatre for Wales it must be one company for both languages.
3. THE PROPOSALS REGARDING THEATRE FOR YOUNG PEOPLE
3.1
It is of concern that the new proposals do not seem to have been based on the good practice of some LEA areas where funding and standards of performance have been maintained. In this area it is not true that the local Theatre Company has failed to respond the changes in Education. Rather, it has responded because it has been within the system not on the outside. It appears that the strategy seeks to construct a system that will make such Local Authority and school involvement much more problematic. While there may be the need for changes in the old eight county/eight company format, the proposals for four companies would seem to remove the possibility of true local involvement. Schools in this area have valued a play about Swansea in the Blitz - not a generalised TIE play on the second world war that has to be able to be played across a quarter of Wales in both country and city schools.
3.2
If the local link was lost something much more important is likely to be lost. At present such is the trust and relationship between schools and the local company that they are prepared to pay for a performance that is tailored to just one age range and their curriculum needs. They know that the theatrical experience will justify the expense. This gives these children a unique experience and has been maintained for succeeding groups of children each year. The relationship between the Company and the schools is seen as a long term one. If the proposal is accepted it is possible that a school would judge all company marketing on an equal footing where-ever they are based. They are just as likely to buy a product from England as one from another part of Wales if they judge in terms of price per pupils in an audience. The strategy will therefore reduce standards.
3.3
Schools at the moment are prepared to release teachers to serve on a professional reference group. This close relationship, that allows two- way discussion of future plans, workshops and the testing of proposals, would be inevitably diluted if a company was not committed to an area or the individual schools could see little benefit to their own school from the release of one of their teachers.
3.4
Similarly, it would be difficult for the relationship with the Educational Development service to be maintained. At the moment despite financial constraint, the County has a teacher adviser who is able to ensure teaching packs and associated materials and the educational content of the shows is both suitable and of a high standard. All this could vanish under the proposed structures.
3.5
By only looking at the Arts Council and theatre company side of the equation it omits from its considerations the contribution the schools and teacher adviser can make to the work. The proposed structures envisage no formal relationships with companies by Local Authorities; no continuing professional inputs from schools and communities. The schools are seen only as audience rather than part of the creative team producing the work. A company that attempts to serve a wider area would increase the likely hood of a return to the sort of “hit and run work” that Theatre West Glamorgan has spent so long campaigning against. Schools are able to plan whole terms of work around the company’s performances. This long term relationship is likely to vanish and we will return to the groups coming in ‘doing a play’ and leaving with no real long term residue of learning stemming from the experience.
3.6
If the relationship with a local area is broken, if the Local Authority is seen as not having a role in creating the climate and structures for successful work, then it could well be seen by elected Members that there is no need for them to support a company financially. They could explore other ways in which the present funding could be used to support the Arts and Theatre in their local area. There is no guarantee that present funding Local Authority levels would continue if the elected Members were dissatisfied with a new structure. Indeed the document seems to envisage them falling. This seems both defeatist and give little recognition to those who have argued for and maintained a healthy and creative relationship.
3.7
It is inconceivable that the proposal to axe TIE was introduced without first consulting with LEAs in Wales. These proposals need far more discussion with LEAs than has been afforded by this consultation. It is also surprising given the emphasis on provision of services to young people promoted by Central Government that the proposals outlined by the ACW result in an actual reduction in funding.
4. THE DOCUMENT ENVISAGES COMPANIES DEVOTED SOLELY TO YOUNG PEOPLE’S THEATRE
4.1
There seems to have been no wide discussion of what the term Young People’s Theatre refers to. Does it include TIE work at all? Will it be in venues rather than schools or museums or communities? It is impossible to make a considered response to such a vague or all encompassing term. Deferment would allow greater elucidation and discussion with those who are going to be the audience and pay for the work.
4.2
The strength of the present structure is that high quality actors, directors and designers have been able to work on a schools tour or in touring shows but also appear on TV. The company has not been full of inexperienced actors who have little knowledge or interest in TIE, treating it as just a first job. A company that was just for young people, is likely to be marginalised unless the actors can easily move into the more lucrative film and TV world and have a reason to come back again. If you are working on an adult show you usually work at night, leaving the days free for film and TV, voice-overs, etc. to supplement the lower salaries of live theatre - a TIE tour or even a young people’s theatre performing morning and afternoon leaves no time for other work. It is unlikely to attract the sort of committed, talented and experienced actors that Theatre West Glamorgan has enjoyed over many years. A strenuous six month TIE tour away from home across large parts of Wales is unlikely to attract experienced actors unless they have other reasons for being part of the company. Indeed I know of talented young actors who have refused the firm offer of a six month Clwyd Theatr Cymru school’s tour for just such reasons. If young actors are refusing it what chance older actors with families and mortgages?
4.3
Conversely, the community and touring performances have gained from the TIE work. Plays have grown out of the research done for a schools show, have been developments of work originally seen in schools. The reputation of the schools work has helped sell the community work. The direct style has influenced the adult performance style.
4.4
At the information briefing by ACW officers, it was stated that Young People’s Theatre is seen as being theatre for young people up to 25 years. It is our view that good theatre should be for all not labelled or put into a ghetto. In a climate of the Government’s commitment to lifelong learning it seems a retrograde step to put in artificial divisions. Is there to be a separate theatre for the aged? Anything worth encouraging a group of 16 plus young people to attend should be worthy of attention by those of 30 or 50. Or is the proposed National Theatre condemned to playing just to the old or those not excited by radical experimental theatre, because “it is the young people’s companies who are doing that work”?
4.5
At the moment we understand that the requirements of the four franchises that are proposed are not to be defined. (para 5.6 and briefing). Rather ACW is expecting to receive bids and will choose the most interesting or exciting rather than laying down guidelines to which the companies must conform. This could mean that a company could put forward a brilliant programme of work that ignores the needs of the early years or infant schools and for the life of the franchise no work is accessible to the youngest children.
4.6
The lack of definition for a franchise is worrying. It is difficult to understand how an entitlement to access for work, in both Welsh and English, available to all young people, in all districts, would be obtainable by the schools and colleges without a clear definition for companies to bid against.
4.7
At the moment the City and County of Swansea is proud of its local company, it has not been hard to argue for funding to be maintained. Under the new structures envisaged, this may not be possible in the future. Indeed, as a County that has shown its commitment to the work by maintaining its funding despite financial constraints, it would expect to play a leading part in discussions about the allocation of a franchise covering its area. There is nothing in the strategy that envisages such involvement.
4.8
The strategy suggests four companies but gives no rationale for four rather than five or three or one. All we know is that eight are unsustainable. It is difficult to make a response until the areas of the companies work are to be defined. A company that performed in the Bridgend to Carmarthen Corridor is likely to be very different in its work from one that stretched from Swansea to Pembroke. Perhaps the area is to be defined on population spread? In which case the role of the company working in the thinly spread populations of the mid Wales area, much greater in acreage than that of Theatre Powys now, would be an impossible one. Or perhaps defined on just square miles in which case there would be no rationale for the work within a quadrant. There could be a case, although we would not argue it, for four companies with different specialisms, Welsh, early years, TIE, Children’s Theatre for instance working across the whole of Wales. Once again the point is that there has been no real debate of what is wanted with the audiences of such proposed companies. Again this is a reason for deferment.
4.9
There seems to be a discrepancy. For the four Young People’s Companies ACW is ignoring the strong Local Authority involvement and asking for a clean slate to rebuild a new system. This is the opposite of other areas of the document where the long term commitment of authorities is part of the reasons given at briefings for maintaining and increasing finance. Thus the commitment of Flintshire is given as one of the reasons for the support of Clwyd Theatr Cymru.
5. OTHER ASPECTS OF THE STRATEGY
5.1
There is no mention of Community Theatre in the Strategy and this would seem to disenfranchise whole areas of Wales to whom in the past this has been the only live theatre available. It is our view that all companies in Wales should have a community remit beyond that to small, large and mid-scale venues.
5.2
New Writing seems to be consigned to yet another ghetto of a special New Writing company. It is our view that all companies in Wales should have a commitment to New Writing across all genres. If this is so, there does not need to be a special company to which New Writing is banished. Again a company of actors that only works on classic texts will soon grow stale.
5.3
The document seems to support Youth Theatre in the Sherman Theatre. There is no recognition of other Youth Theatre work, building based or otherwise LEA supported across Wales. It is difficult to understand the rationale that singles out one group for support, rather than allows for developmental bids by all. Youth Theatre seems to be the concern of the ‘access’ division rather than the ‘art form’ development section. Youth Theatres function across Wales in a theatre building or their Local Authority provides funding for them to hire venues. The debate about the role of the Sherman should not be influenced by the presence of a Youth Theatre.
5.4
The West Glamorgan Youth Theatre and Dance Companies have a unique record in Wales of young people moving on into professional training both as technicians and performers in the theatre and other media. There is nothing in the proposals that would encourage these young people to remain in the area. The haemorrhaging of talent will therefore continue, more probably to the advantage of London than Cardiff.
5.5
The Strategy recognises that there is ‘a gap in Swansea’ but does not address how this might be filled. It also states that it is ‘inconceivable that there shouldn’t be a range of theatre available in Cardiff’. It is ‘inconceivable’ that a range of theatre is not available to the population of Swansea or any other area of Wales who are as equally entitled to equality of access as the peoples of Cardiff. Because there is no clear published criteria for touring and range of work put forward against the increase of funding to Clwyd Theatr Cymru it is impossible to decide how such a range of touring or product will be achieved. At the moment there seems to be the view that there is Cardiff and then the rest of Wales looked after by Clwyd Theatr Cymru and the Torch Theatre. Nothing in the document dispels such a view. Clwyd Theatr Cymru has already established itself as the National Theatre of Wales and is already in receipt of considerable levels of public monies, but little debate has occurred to establish the parameters on which this funding is based.
5.6
The remaining theatre in Wales is consigned to applying for project grants. No clear idea is given of how much funding is available for this part of the Strategy. In other media areas Visual Arts, Literature, such schemes have been delegated to outside agencies. The strategies make on reference to whether this is intended or, if not, why theatre is considered differently. Unless there are clear published criteria and financial details it is difficult to decide how fair such a scheme would be or how it compares with the present system. Once again, unless there is funding for several years, one off projects with little long term relationships building with an audience and community seems inevitable.
5.7
The City and County of Swansea would welcome opportunities to discuss the future of theatre for young people and TIE with the Arts Council. The County and its predecessor West Glamorgan have new seen the relationship as one of providing funding along. Rather it has been a partnership between schools, communities and the Council at all levels. The quality of the theatre seen, is reflected in these relationships that have produced some of the most exciting theatre for both the community and young people seen in Wales. It would be the concern of the Council that future generations of young people have the opportunities that a locally based community and young peoples company can offer for both learning and delight.
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