Community Theatre

Chris Bryant Excerpts

Wednesday 12th March 2025 Westminster Hall

[The Minister for Creative Industries, Arts and Tourism (Chris Bryant)]

It is very good, Sir Jeremy, to have you in the Chair, not least because you know a thing or two about the Department, having played a role there for a while. I also congratulate the hon. Member for Hazel Grove (Lisa Smart) on securing not only the debate but quite a large audience for it—certainly bigger than many audiences that I have seen in Westminster Hall.

The hon. Member is right to refer to the Forum theatre, which reopened after £300,000 of investment. She was a bit modest because, as a councillor, she was one of the leading figures who campaigned to get it reopened—perhaps that played a part in her getting elected to this place. I see that she is smiling. It is not quite a Mona Lisa smile; it is more of a “Yes, I did, and thank you very much, Minister, for mentioning it” smile.

I gather that the Forum theatre reopened with “Everybody’s Talking About Jamie”, which I think was for just one night only. The young lad playing the lead had effectively grown up in that theatre and learned his craft there. That is yet another aspect of community theatre, namely that young people become engaged in the arts through it. Sometimes, they are young people who would not necessarily be interested in other academic subjects in school, but who see that the creative industries are a career choice or option for them, and they have a moment of extraordinary bravura on stage. Alternatively, somebody might work backstage and decide that that will not be the career for them, but none the less gains a degree of confidence and a sense of working as part of a team. People learn how to take a cue or prompt a cue, and so on.

All those elements are part of growing up as a young person and those skills are essential life skills for nearly every work environment, which is why the creative industries are so important. That is true when there is a massive production of “Matilda” by the Royal Shakespeare Company, which ends up becoming a worldwide success, or “War Horse” by the National Theatre, or “Les Mis”, which was originally an RSC production. That is also true, however, when we are talking about much smaller venues where the subsidy is a key aspect of managing to keep the whole thing going.

Incidentally, I should say that Dan Gillespie Sells, who is a friend of mine, wrote the music for “Everybody’s Talking About Jamie”. As I will say more about later, theatre is not just about buildings; it is also about having the writers and the musicians coming into the pipeline, so that we have shows in the future that people really want to see.

[Peter Swallow (Bracknell) (Lab)]

I thank the Crowthorne Musical Players for putting on a fantastic production of “The SpongeBob Musical” in the South Hill Park theatre in my constituency last week, which I enjoyed. Seeing young people on stage and the confidence that they were able to exude filled me with such hope for the future. Can the Minister expand further on the benefits for our young people of being involved in the theatre and the creative industries?

[Chris Bryant]

I am not sure whether that was really a question or an advert. It would seem that all the world’s a stage, and all the MPs merely players. It is good that everybody appreciates the cultural institutions in their constituencies and that we all try our best to support them when we can.

The Park & Dare is the theatre in my patch with a beautiful 19th-century building. One of the most exciting nights that I have ever had was seeing Joan Armatrading perform there. When a performer of global standing comes to a local community theatre, that is really important. I think Paul Young is playing at the Forum theatre in a few weeks’ time; the audience then will no doubt be living in the “Love of the Common People”.

We have all used the term “community theatre” in the debate, but it does not really exist. According to the Society of London Theatre and UK Theatre, roughly 50% of the 1,100 theatres in the UK are community theatres, so we are talking about 500 or so of them. All those theatres are on a spectrum, however, that ranges from the tiny venue that seats only 100 people and is entirely run by the community on an almost-voluntary basis to much bigger venues, such as Nottingham Playhouse, that are run by the local authority but are still very much part of the local community.

Actually, I would argue that no theatre is really a theatre unless it is a community theatre, even many of the big theatres that we see in London’s west end, which are such an enormous attraction for people around the world. Incidentally, if anybody in the United States of America is watching this debate, the productions in our west end theatres are much better value than Broadway theatres, and their productions are of much better quality too.

Whatever kind of theatre we are talking about, in the words of Peter Brook, every theatre is in essence an “empty space”, and it is only when somebody walks across it that it becomes a theatre. To do that, however, it has to have a story to tell, it has to have people to tell that story and it has to have an audience. All of that is what turns a theatre into a community. The theatre industry in the UK generates something like £2.39 billion in gross added value, employs 205,000 workers and has a turnover of £4.4 billion a year. We already support it in many of the ways that the hon. Member for Hazel Grove has asked us to support it, so I am quite pleased that she asked those questions rather than more difficult ones.

The higher rate of theatre tax relief that comes into force on 1 April is a significant investment in the theatre industry across the whole UK. It will be set at 40% for non-touring productions and 45% for touring productions and ones that involve music. Arts Council England is going through the next round of looking at its national portfolio investment programme, which will provide something like £100 million a year to 195 theatres across the UK.

People might think that a lot of that is going to the big theatres, which might not qualify as a community theatre, but that is stuff and nonsense—sorry, that is the name of a theatre in Dorset. The Stuff and Nonsense theatre is one of Arts Council England’s national portfolio organisations, as are the Nottingham Playhouse, Z-arts in Manchester, the Little Bulb theatre in Mendip and Scratchworks theatre in Exeter. Interestingly enough, the programme does not just fund theatre buildings; it also funds the Writing Squad in Stockport, which is bringing on new writing talent in the north of England, because that is absolutely essential to making sure that there are new plays coming along.

I love J. B. Priestley, and one day I will tell the embarrassing story of when I was in a production of “Time and the Conways” many years ago, but we cannot endlessly put on the classics. Much as many of the classics are really important—I have seen productions of “Richard II”, “Edward II” and “Hamlet” in the last few weeks—we none the less need live, modern stories that reflect people’s lived experiences.

[Helen Maguire (Epsom and Ewell) (LD)]

On the point of funding, Leatherhead theatre is a grade II listed building leased by a small local charity. It faces ongoing maintenance challenges, but its ownership model makes covering those costs extremely difficult. The £85 million creative foundations fund is welcome, but past experience suggests that not owning the building or having a long-term lease could preclude access to such funding. Would the Minister look into ensuring that funding is accessible to all community theatres regardless of ownership to ensure that they continue enriching our communities?

[Chris Bryant]

I like the way that the hon. Lady casually dismisses the £85 million of capital investment—it took quite a lot of work to secure that money. One of the first things that the Secretary of State for Culture, Media and Sport and I were lobbied about when we came into government last July was the state of many of the cultural institutions—theatres, museums, galleries and so on—that have been run by local authorities and are in dire capital need. Many of the organisations that we are talking about will be covered by that. If she wants to write to me about the specifics of that case, I will look into it. We had to decide where our priorities should lie. There are other avenues that other organisations can go down, but we wanted to make sure that there was a solid amount of money available in a single year: £85 million for capital projects in 2025-26 for the kind of theatres that many of us will be talking about that are, or have been, local authority-run.

The other intervention that the Department is engaged in is the Theatres Trust, which provides a great deal of unbiased advice to a variety of different theatres about their funding mechanism, their legal structures, their governance and what they can do about energy costs—a whole series of different things. I am very grateful to the Theatres Trust team, who play an important role in making sure that the whole sector works.

It is clearly easy for us to celebrate the big shows that I have already mentioned in the west end, such as Tom Hiddleston in “Much Ado About Nothing”. Those productions get lots of coverage and are very successful commercially, but we cannot have a successful commercial UK theatre industry without a successful subsidised UK theatre industry. We need that whole mix. An actress such as Glenda Jackson, who ended up winning two Oscars and was nominated for two more, and who was a great star of stage and screen making her way partly in theatre and partly in the movies, started in rep in Hoylake and West Kirby. We must remember that it is that whole mix, even in the changing environment of modern theatre, which has very few repertory theatres in the classic sense, that we really have to sustain.

I have already referred to the £85 million creative foundations fund, but I should also refer, as the hon. Member for Hazel Grove rightly did, to local government. The new plan for neighbourhoods that is being developed by the Ministry of Housing, Communities and Local Government is precisely designed to look at how we can make sure our local neighbourhoods flourish. A key aspect of that must be the creative industries and our cultural institutions. People take so much pride in having a local theatre, a local music venue or whatever else it may be. We lose those organisations at our peril, although there are enormous challenges.

[Alison Bennett]

My concern is that, in west Sussex, we are on the fast track for local government reorganisation, and without a quick resolution to how we fund social care, many of the community theatres, which are council-owned assets, are at risk of being sold off. Would the Minister press the Ministry of Housing, Communities and Local Government on that point?

[Chris Bryant]

I have already had those conversations with the Ministry; it is obviously not simple when we are talking about local government reorganisation. I used to be a councillor in Hackney, so I know the pressures that are always on local government, but those pressures have been so intense for the last 14 years, with an ageing population taking up a much greater proportion of funding through social care, and looking after children in care, as well as very diminished budgets. Local authorities have really struggled to do what they are required to do, let alone what they are allowed to do, such as providing culture and leisure facilities.

One of the problems has been that local authorities have tended to have annual settlements rather than three-year settlements, and I hope that more of the latter will make a dramatic difference to how local authorities can plan for big and medium-sized projects in the cultural sphere. However, I will always make the case to any local councillor who walks through the door that simply cutting funding for the local theatre or leisure centre is an own goal. I tell them that they would then struggle to provide other services, lose pride in their local place, deprive people of career opportunities and make it more difficult to grow the local economy. We know that for every £1 spent on a theatre ticket or a live performance ticket, people are likely to spend several more on other things in the local community.

[Gareth Snell]

The other point that the Minister is making is that community theatres tend to solve the problems that drive the demand in those acute and expensive services in the first place, by giving people a social outlet.

[Chris Bryant]

That is a very good point. As I have regularly said, youth services have suffered tremendously in the last 14 years. If we can get the whole congregation of cultural, youth and leisure services to work together in the local community, it can radically affect people’s life chances and life choices.

My final point is that community theatre is not just about buildings. It is terribly easy to become obsessed about buildings, but my concern is whether we are getting the young actors we need from every type of background, not from only one background. That depends on making sure that every single school provides a proper creative education.

[Sir Jeremy Wright (in the Chair)]

That brings the curtain down on this debate. I am grateful to all hon. Members who have participated, both in leading roles and walk-on parts.

Question put and agreed to.