Creative Sector

Lord Cashman Excerpts

Thursday 4th November 2021 Lords Chamber

[Lord Cashman (Non-Afl)]

My Lords, it is always a pleasure to follow the noble Lord, Lord Foster of Bath, and I congratulate him on his contribution. I also congratulate my friend, the noble Baroness, Lady Featherstone, on the laser-like brilliance of her opening statement, and I welcome and congratulate the noble Lord, Lord Foster, on his maiden speech. I look forward to many more.

[A noble Lord]

Spencer.

[Lord Cashman (Non-Afl)]

Spencer. I am corrected from a sedentary position. My error was unforgivable; I restate that I congratulate the noble Lord, Lord Spencer, on his excellent maiden speech.

I remind the House of my interests as a set out in the register, particularly as a member of Equity. I am in receipt of royalties from programmes and I am a published author with Bloomsbury. I am grateful for the many briefings I have received from the Society of London Theatre, UK Theatre, Equity and many others, including the renowned and prolific commercial theatre producer Sonia Friedman.

As the noble Lord, Lord Berkeley, said, before the pandemic, the creative sectors were facing difficult issues because of our post-Brexit trade deals and, in particular, the restrictions on the freedom of movement of goods and people. The creative industries import and export talent and product across the EU and further afield, and there are still many issues, now impacted by the pandemic, that need to be resolved. I shall not repeat them as the noble Lord, Lord Berkeley, dealt extensively with them.

I welcome wholeheartedly the government measures and any criticism I have is because I expect more and better. Despite the measures that have been introduced, it remains a very mixed picture. While many have received assistance and support, many others were unable to get help and are still struggling or have left their professions. Indeed, some established freelancers were advised that their work was not “vital” and that they should retrain. That attitude is insulting and short- sighted, and potentially drives away practitioners where there is already a drastic skills shortage.

Some theatres and venues across the UK are experiencing returning audiences, but many others are struggling. Across the board, ticket sales are far from guaranteed, with the majority of theatres’ producers having to take a week-by-week approach to their finances, which creates a hugely unsettling economic environment. In such an unsettled economic environment, it follows that there will be long-term employment and artistic consequences that could affect theatres, producers and venues, as well as the skills crossover.

The lack of international tourism and broader public uncertainty about personal safety and returning to life as normal are at the heart of these issues. Therefore, clear government messaging is crucial, in addition to continued targeted economic support to help the creative industries transition out from Covid-19 restrictions.

The Budget and the CSR in October provided much-needed potential financial relief, but it is about take-up and accessibility of funds. For instance, DCMS has awarded just 1.3% of the £2 billion Culture Recovery Fund. One needs to beg the question: why? We must also address other key areas: funding for local authorities to ensure that the arts are part of the regeneration of our towns and cities; and cultural VAT, which should be maintained at 12.5% or the reversion period extended.

The arts premium for secondary schools is vital. I give this urgency because I know it matters. At the age of 11, I initially went to a secondary school and, because of my exposure to theatre, my life was dramatically changed and my life changes enhanced beyond all measure. The benefits to young people are immeasurable, stimulating imaginations and taking them beyond their place of birth or the people to whom they were born and giving them the horizons that beforehand were unimaginable—truly, the power to change lives.

I briefly turn to the doubling of theatre tax relief, which will have an extremely positive impact on the ability to produce and stimulate new productions through the autumn and deeply uncertain winter. However, there are some operational issues with TTR. The interpretation that DCMS has specified is that only shows with activity after 27 October can qualify for the doubled TTR. However, activity on shows of a large scale—indeed, on any large-scale performances—often starts well over a year or two in advance of the first performance. There are solutions to this problem, and I urge the Minister to meet with producers and others.

I have two final points. The reintroduction of the minimum income floor for universal credit will have an extremely negative impact on creative freelancers with variable income. A recent survey by the union Equity found that 50% of respondents were concerned that they could be forced out of the industry as a result. Quite rightly, Equity wants to abolish the minimum income floor and replace it with a meaningful alternative to better support creative freelancers. I urge the Minister to meet with Equity to discuss its proposals.

Finally—and I say this with all due deference and courtesy—the cultural vandalism of privatising Channel 4 will have damaging consequences for its supply chain, resulting in thousands of job losses. It will serve no one, least of all the viewer, nor the principles of broadcasting diversity. The Channel 4 model works. Therefore, I ask the Government to stop meddling, leave Channel 4 alone and abolish such reckless proposals.