Regional Theatre

Flick Drummond Excerpts

Tuesday 5th January 2016 Westminster Hall

[Will Quince (Colchester) (Con)]

I beg to move,

That this House has considered regional theatre.

When we think of theatre in this country, many minds inevitably turn to one place: the west end. With its big musicals, high production values and ability to attract all-star casts, the London theatre scene dominates perceptions of British theatre, but we too often forget the importance of regional theatre to British cultural life. Although regional theatre has a broad definition, it is generally used to refer to theatre outside of the London heartland.

I called this debate for two reasons: to celebrate the success of Britain’s regional theatres and to raise awareness of the challenges to their long-term viability. The west end is often the showcase of our best theatre, but it does not exist in a vacuum; it exists because it is fed and sustained by the talent of regional theatres across the country. Regional theatre is the grassroots of the theatre system in this country, but critically it is also the home of excellent theatre in its own right. Innovative, challenging and thrilling theatre is being created to an exceptionally high standard, rivalling any nation in the world. Regional theatre is not and never should be second best. Yes, some of the work created regionally will transfer to London or the global stage, but there is so much collaboration happening between regional centres of excellence, from one region to another.

Regional theatre is so often where the careers of some of our best British actors and actresses begin and where some of our most innovative plays and productions start their lives. Sir Ian McKellen’s acting career began at the Bolton little theatre. Sir Antony Sher took his first acting steps at the Frinton summer theatre. Jonathan Pryce started his career at Liverpool’s Everyman theatre and Sheila Hancock began her work as an actress at the Kings theatre in Southsea and the New Theatre Royal in Portsmouth in the 1950s. Those actors and actresses are not only national treasures—a much overused phrase—but also reflect some of the many cultural exports shaping perceptions of British culture overseas. Indeed, Hugh Bonneville of “Downton Abbey”, “W1A” and “Paddington” fame took part in six productions at Colchester’s Mercury theatre in 1988 and 1989, long before he was a household name. The stint took him to roles as diverse as Petruchio in “The Taming of the Shrew” and the pantomime dame in “Dick Whittington” at Christmas. All great careers have to start somewhere.

Regional theatre is also the incubator of some of our best new plays and original productions. Some very successful new plays in recent years have started life in our regional theatres. The play “ENRON”, which is about the Enron scandal, started life at the Chichester Festival theatre in 2009 before being moved up to bigger venues in London, as did the recent smash hit “Gypsy”, which was filmed for TV this Christmas. “On the Shore of the Wide World”, a play about three generations of a Stockport family by Mancunian playwright Simon Stephens, opened at the Manchester Royal Exchange in 2006 before transferring to London’s National Theatre.

I understand that much of our regional theatre is not self-financing. It relies on subsidy from the Arts Council and local government to ensure its year-to-year viability. In Colchester, the Mercury theatre’s income is 30% grant income, with the other 70% earned, but as the previous director of the theatre, Dee Evans—she held the role for 14 years—once said:

“If you invest in the work and it’s good, people will come”.

Public subsidy helps sustain many of the great productions that our regional theatres put on. The Mercury recently underwent a £580,000 refurbishment, with £400,000 provided by the Arts Council. The funding refurbished the studio theatre, increased capacity to more than 580, improved disabled access and installed better soundproofing. It was the biggest investment in the theatre since its opening in 1972. The funding will help open up the theatre to more school and community groups and ensure that even more people can enjoy and participate in quality theatre locally.

[Mrs Flick Drummond (Portsmouth South) (Con)]

My hon. Friend just mentioned the New Theatre Royal in Portsmouth, which also completed a major extension and refurbishment last year, supported by bodies including the Parity Trust, Arts Council England and the Heritage Lottery Fund. Its key partner is the University of Portsmouth, which is now sharing part of the site. Does he agree that that kind of collaboration between theatre and education is a great way to safeguard the future of our theatres?

[Will Quince]

My hon. Friend makes a valuable point. Regional theatres are the very best at collaboration, at working with local partners and, in particular, at getting young people involved in arts and culture locally, so I totally agree with her.

It was a great pleasure to be invited to speak on the stage at the opening of the studio. I am unlikely to make the west end after that performance, but I have instead fortunately found a calling in Westminster. They do say that politics is show business for ugly people.

--- Later in debate ---

[Will Quince]

My hon. Friend makes a valuable point about a trend that can be seen nationally. Recent research for the Arts Council in August showed that theatre subsidy helps support more than £2.2 billion of private sector activity. Although theatres are becoming better at sourcing their own moneys—regularly funded theatres are now earning 62% of their total income, which is six percentage points more than four years ago—the report said that very few regional venues could justify a claim to be profitable were all subsidies removed.

Investment in our theatres not only has a strong economic impact, but is critical to the health of the acting professions and the creative arts. Research from 2013 on the effect of publicly funded arts on creative industries found that 62% of those working in subsidised theatre believed working in the sector to be highly important to a successful career in theatre. Respondents were more likely to say that publicly funded theatre gave greater opportunities for presenting challenging work and new work and for providing sufficient time to experiment than big commercial theatre.

[Mrs Drummond]

I have two major theatres in my constituency, and the Kings theatre is running a course on stage pyrotechnics this weekend. It is open to anyone with an interest in a career in theatre. It takes on a lot of apprentices, too. Does my hon. Friend agree that that kind of activity is a good thing for local theatres to be supporting? It is important that theatres appeal to people with an interest in what happens backstage, as well as on the stage.

[Will Quince]

My hon. Friend makes a valid point. The more locally skills can be developed and enhanced, the better. It is important that regional theatres offer those skills, particularly to young people locally. I totally support that.

Theatres are more focused on reflecting the local communities in which they operate, creating benefits for social cohesion and integration as well as for education, health and wellbeing. In 2015, Arts Council England published an excellent evidence review, which evidences the total benefit of the arts to society and the economy.