Supporting UK Artists and Culture

Debate between Baroness Hodge of Barking and Nickie Aiken

Tuesday 22nd November 2022 Westminster Hall

[Nickie Aiken (Cities of London and Westminster) (Con)]

It is a pleasure to serve under your chairmanship, Mr Hollobone. I thank my hon. Friend the Member for Gosport (Dame Caroline Dinenage) for securing this important and timely debate.

I am incredibly proud of the vibrant arts and culture offer of my constituency, from the west end’s theatreland to iconic live music venues such as Ronnie Scott’s, the 100 Club or Heaven, as well as the Barbican centre, the Royal Albert Hall, the Royal Opera House and the London Coliseum. According to the Office for National Statistics, 8% of arts and culture businesses are based in the Cities of London and Westminster—over 2,500 businesses. In the time I have, I will pay particular attention to how we can support arts and culture through an incredibly difficult time.

When we look at how we can best support the future of the sector, forward planning is key, especially post covid. Its importance has been made clear to me throughout covid and more recently, during the ongoing decisions on the future of the English National Opera, which is based in my constituency. It is good to see the ENO’s chief executive, Stuart Murphy, in the Public Gallery.

[Dame Margaret Hodge]

Does the hon. Lady agree that there is a real misunderstanding about how much money is invested in the arts in London? That investment is brilliant, but there is a misunderstanding about it. First, it includes national institutions such as the British Museum, which should not be included. Secondly, the audience for London entertainment comes from the south-east, and the south-east gets hardly any money from Arts Council England. If one were to incorporate the two, one would see that the funding per capita in London is equivalent to the funding per capita in the rest of the country.

[Nickie Aiken]

I thank the right hon. Member for her very salient point. Given the funding, or lack of it, from Arts Council England, the future of the ENO is dependent on two factors. The key driver is to move out from its current location at the London Coliseum. The debate on cuts to funding could be a standalone issue, so I will not stray into its complexities right now. I will take that up when I discuss ENO funding with Arts Council England this week.

Right now, what I hear is that one of the major issues the ENO faces is not necessarily a prospective move, but the tightening of timescales and a lack of due consultation. My hon. Friend the Member for Bromley and Chislehurst (Sir Robert Neill) mentioned the lack of consultation with the ENO. In fact, Arts Council England expects 20 weeks, between now and April, to be enough for the ENO to start making decisions about its future.

Although I appreciate that a funding decision must be made, moving the ENO in its entirety is a big misstep. As we have heard, it will take five years at least. Is Manchester the right place? I personally want consideration to be given to the model used by the Royal Shakespeare Company, which has a base in the Barbican centre and in Stratford-upon-Avon. That works well: it keeps the London offer, but goes out into the provinces. I cannot see why Arts Council England should not work with the ENO to discuss that type of move, which would keep the London Coliseum alive while perhaps not moving the ENO up north. We have a brilliant Opera North organisation. What about the west country? What about Bristol, Exeter or Plymouth? Those areas need levelling up. Why cannot Arts Council England work with Stuart Murphy and his team to give proper consideration to that?