Arts Council England: Regional Distribution of Funding

Lord Vaizey of Didcot Excerpts

Thursday 15th December 2022 Lords Chamber

[Lord Vaizey of Didcot (Con)]

My Lords, let me declare my interests as a trustee of Tate and chairman of the Parthenon Project, the campaign to return the Parthenon sculptures back to Athens, where they so richly deserve to belong. May I also take this opportunity to be the first noble Lord to wish my noble friend Lord Valerian Freyberg a happy birthday. It is a depressing moment when your friend’s younger brother turns 52 and you realised just how old you are.

I want to begin with a positive note, which is to say that I am an enormous fan of the Arts Council and its leadership. I think Darren Henley has been, until recently, a chief executive without fault. He has handled an incredibly difficult brief extremely well, constantly having to manage a budget that is quite tight and narrow, managing cuts—cuts which I also imposed when I was an Arts Minister—and he has very rarely dropped the ball when dealing with hundreds of different arts organisations, as the noble Lord, Lord Mendoza, pointed out. We have now an incredibly distinguished chairman of the Arts Council in Nick Serota, who led the Tate for so many years. We are blessed with many other arts quangos, if I can call them that, like English Heritage, which do an outstanding job.

I think we forget in this country that we have a fantastic system of arts funding. It sits neatly in between the US system of almost entirely private funding and the European system of almost entirely state funding. I think that tripartite system of government support, philanthropy and commercial income works extremely well. Government support acts as a catalyst for many of our arts organisations, but they still have room to be very entrepreneurial and innovative. I should mention in passing that I wrote to the Times a couple of weeks ago, to remind them of the existence of what was the Prince of Wales philanthropy medal. When King Charles was Prince of Wales, for about five or six years he awarded a medal every year to five philanthropists to recognise their contributions specifically to the arts. I hope at some stage the Minister, who is so brilliant at his job—he is really outstanding—will find a way to have a quiet word with the Palace about perhaps making this a proper honour to mark the start of the King’s reign.

I always complain that the Government do not fund the arts generously enough, but it is also important that we acknowledge that arts funding in its wider sense is extremely broad and deep. For example, we have the BBC and tax credits for theatres and museums and for television, video games and film—all of which I regard as arts subjects. We also have our regimental museums funded by the Ministry of Defence and the City of London putting approximately £100 million a year into the arts. We have our local councils and our universities—my noble friend Lord Mendoza mentioned that he is on the board of the Ashmolean, a university museum. We have charities: the National Trust runs more museums than any other organisation in the country. We have an incredibly rich ecosystem and very wide and deep arts funding—which, if you added it all up, would probably come to a couple of billion, if not £3 billion, a year—so we are incredibly lucky. Of course, we also have the private sector, including Sky Arts, the Bridge Theatre, a range of private organisations, a thriving music industry, and a publishing industry which never gets enough attention because it does not get an enormous amount of government money, if any. Again, we forget about the rich ecosystem we have in the private sector.

I will pick up on what the noble Lord, Lord Storey, said when he opened the debate. I was pleased to listen to his speech, because, while he knows a lot more about Liverpool than me, I have spent a lot of time in the city and in Tate Liverpool. We can go to almost any city or big town in the country and see how arts funding can be transformative—and not just in Liverpool; I was thinking about NewcastleGateshead, which effectively created a tourism economy on the back of places such as the Baltic and Sage Gateshead. Another example is Yorkshire Sculpture Park. If you go to Margate, you will see the incredibly galvanising effect that Turner Contemporary has had on it. To complete the picture: there is the amazing work that Roger De Haan of Saga has done just down the road in Folkestone based purely on philanthropy. There you can see—in miniature, if you like—the incredibly galvanising effect that culture can have.

So, when we have complaints to make, we should all realise just how lucky we are in this country. My first complaint is that we never have enough leadership from the Government to make that point about the arts again and again. It remains, on both sides of the House, an embarrassment for politicians to be seen engaging in and supporting the arts; they are still regarded—ridiculously, in my view—as too elitist, but we should sing from the rooftops the contributions that the arts make all over the country. I pause here to praise my noble friend Lord Mendoza on the incredible work he has done as cultural commissioner, particularly during Covid. He was kind enough to mention my White Paper, but, in the privacy of the Chamber, I reveal that he actually wrote it—please do not tell anyone else.

Before she speaks, I also praise my noble friend Lady Fleet, who has done some fantastic work on music education. I was not able to be present in her debate on music education, but her 10-year review has been widely welcomed and is much needed. Again, that is a good example of how government departments can join up—in that case, the Department for Education and DCMS—to push an important agenda.

Talking about music education, I must segue into the one misstep that the Arts Council has made: its absurd decision on the English National Opera, which was taken at short notice and with no consultation at all. People are involved in that decision, not just the singers and orchestra but all the backroom staff. I must also mention the chairman, Harry Brünjes, who has led the ENO for nine years. Not only is he unpaid, but he has put his own money into ENO. It has been a pretty thankless task for him to turn around an organisation that was at a very low ebb nine years ago and widely derided, to get it to the position it is in now: a popular organisation welcoming many young people through its doors who have never seen opera before, engaging in health—for example, through its ENO Breathe campaign to help people with long Covid—and getting out to the regions. He has done everything and more that any Government could ask. His reward, effectively, was a kick in the teeth from the Arts Council. It is unforgiveable—and I say that as someone who has the utmost respect for Darren Henley and the Arts Council.

That was a terrible decision, and it should have been given with much more notice. If there will ever be another decision like that, it should be made as part of a wider strategy stating what the provision for opera is, how we deliver opera as a product—I know this sounds very managerial—most effectively around the country and what role the ENO can play in that. It may sound sentimental to cite individuals, including Stuart Murphy, the chief executive officer, but that is no way to treat people; it sends a terrible signal, and the Arts Council must look again at that decision.

I want to mention two or three other things, very quickly. It is the 70th anniversary of the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest. If any noble Lord gets the chance to serve on it, do—it is wonderful. It is like “The Generation Game”: various arts and treasures come in front of you and you decide whether they are part of our cultural fabric. I was lucky enough to stop Jane Austen’s ring being exported to the American popstar Kelly Clarkson; she was very decent about it. It is a reminder that we care very much about cultural objects being linked to our island’s story, just as our friends the Greeks care very much about the Parthenon sculptures, which should be reunited with the frieze in Athens. As the Minister knows full well, although he cannot say so as he is feeling sort of butch and robust about the whole thing, the frieze is like a movie that has been cut in half, with half of it having been taken, against the will of its owners, to another country. That is another thing that must be remedied.

Finally—as the yellow lights flash—one of the key things about levelling up that we should never forget is digital: we can and should get organisations based in London to audiences outside London. It is difficult to measure what a “London organisation” is: Tate has an SW1 address but a presence in Liverpool and St Ives; the National Theatre has an SE1 address but National Theatre Digital is in all our schools, for free.

In conclusion, I fully endorse everything that the noble Lord, Lord Berkeley, said about touring. It really is ridiculous, when we have this incredible cultural scene in this country, that we cannot sort out any help for our musicians for touring in Europe.

--- Later in debate ---

[Lord Clement-Jones (LD)]

My Lords, I congratulate my noble friend Lord McNally on obtaining this debate—I am just sorry that he is not here to participate—and my noble friend Lord Storey on his brilliant introduction to it. Debates on culture and levelling up are obviously like buses: you wait for ages and then two come along in quick succession. Perhaps I could tempt the Minister to treat this like the Report stage of a Bill, when he attempts to give a better answer to questions than he gave during the previous debate.

As my noble friend Lord Storey said, today’s debate is an opportunity to celebrate and highlight the role of culture and the arts in levelling up in the regions. We have heard some great examples of the positive role of cultural levelling up in the regions. He talked about the role of the arts in regeneration in Liverpool and about the Prescot theatre of the north. He talked about culture and the arts as a powerful engine of economic growth, with benefits beyond the economy in health and education. He also talked about the experience of being the European Capital of Culture.

It was a pleasure to listen to the noble Lord, Lord Mendoza. He illustrated some great examples in Bradford, Blackburn, Rotherham, and Tyne and Wear, and the success of the City of Culture programme in Hull and Coventry. The noble Lord, Lord Vaizey, who no doubt we all should listen to on Friday evenings, talked about Gateshead, Margate and Folkestone. The noble Baroness, Lady Fleet, talked about Buxton Opera House.

So there were some wonderful examples there, but it is not all roses, as the noble Lord, Lord Berkeley, made clear, even in the regions—I will come to London shortly—and not just because we are in a post-Covid situation. There are problems with touring post Brexit, and inflation was mentioned by the noble Earl, Lord Clancarty. A number of factors are contributing, but Arts Council decisions have impacted on the regions as well. Liverpool has lost its main access to opera because the Welsh National Opera has had its funding for work across the border cut. It also performs in Bristol, Birmingham, Southampton and Oxford, but it has suffered a 35% cut. How is that levelling up? Glyndebourne, which has had a fantastic touring programme in our towns and cities for 50 years, has had a 50% cut in its funding too.

Manchester should have its own opera company, of course. I was very interested in the phrase used by the noble Baroness, Lady Fox, about a “slap in the face for Opera North”. Abolishing the grant to the Britten Sinfonia removes support for the only serious orchestra serving eastern England, and Plymouth Music Zone has lost its entire funding. I do not believe that is a good catalogue that will encourage levelling up.

In particular, as a number of noble Lords have made clear, levelling up should not be at the expense of a vibrant London creative community and our brilliant London theatres and opera houses. My noble friend started by making that absolutely clear. The phrase used, I think by the noble Lord, Lord Berkeley, was “robbing Peter to pay Paul”. That is the wrong way to go. There is nothing to be gained by cutting the funding for creativity in London.

The noble Lord, Lord Berkeley, also described the role of our London institutions as centres of excellence. Many of the big London-based arts organisations take their productions and exhibitions on tour throughout the UK, as the noble Lord, Lord Vaizey, and my noble friend Lord Storey acknowledged. The noble Baroness, Lady Fleet, seemed extraordinarily conflicted in what she had to say, but I think she would agree with Caroline Norbury, CEO of Creative UK, that

“levelling up cannot mean levelling down, and a rapid reduction in support for world-class cultural organisations in London is short-sighted.”

That diminishes us all, including our international reputation for creativity.

We come on to what has actually happened with the funding. Two London theatres mentioned by the noble Earl, Lord Clancarty, the Hampstead Theatre and the Donmar—both such extraordinary centres of new writing for decades—have lost their entire grant. The Gate, just recently moved to Camden, has had its entire grant removed too. I noted the optimism of the noble Baroness, Lady Fleet, but as a result of these developments, Roxana Silbert has quit as the Hampstead Theatre’s artistic director.

If anything, the ENO has been treated worse, with the total loss of its £12.6 million core annual funding. The noble Lords, Lord Berkeley, Lord Vaizey—by the way, I absolutely endorse his praise for Harry Brunjes, who has done an incredible job for the ENO—and Lord Freyberg, my noble friend Lord Storey and the noble Baroness, Lady Fox, focused a great deal on the entire situation as far as the ENO is concerned.

Last week, the Minister acknowledged that London plays a special role and gave a number of inspiring examples. As he said:

“Those institutions perform a levelling-up function in providing a national stage on which people can perform.”—[Official Report, 8/12/22; col. 306.]


He then paid fulsome tribute to the ENO during the debate. That is very little consolation, given the gun that has now been put to the ENO’s head by the Arts Council. It is as if opera itself was being singled out for ill treatment, and this is where I very much agree with the noble Lord, Lord Freyberg. Surely the massive efforts the ENO has made over the years to bring opera and performance to diverse audiences—11% of ENO’s audience is ethnically diverse—should have been recognised. It has the most diverse full-time chorus in the country and provides free tickets for under-21s. I could go on about its extraordinary education programme, which was praised by Darren Henley himself. At the same time, ENO’s productions are world beating, as anyone who has seen its version of Philip Glass’s “Akhnaten” will attest to.

As it happens, the Major Government bought the Coliseum for ENO. It now makes no sense at all to undermine that investment. As the noble Lord, Lord Freyberg, indicated, is this an opera thing? Berlin, Paris and Vienna have three opera houses. Is it beyond our wit to fund two? Three of the five largest reductions in funding were imposed on opera companies. Cutting public support makes opera more elitist, not less.

The noble Lord, Lord Vaizey, also paid tribute—he is very good at paying tribute to people, by the way—to Darren Henley, and I—

[Lord Vaizey of Didcot (Con)]

I use this opportunity to pay tribute to the noble Lord, Lord Clement-Jones, and ask him specifically why he has not replied to my text message inviting him to appear as my guest this Friday on my Times Radio show.

[Lord Clement-Jones (LD)]

That is because I have not received it, but I look forward to reading my text.

The noble Lord, Lord Vaizey, paid tribute to Darren Henley, as do I, but he did not say that he now pays tribute; he paid tribute to Darren Henley in the past. This has been a bungled funding round with what I fear will be very adverse consequences for the UK’s creative community. I liked the phrase from the noble Baroness, Lady Fox: forced through at speed.

Last week, the Minister talked about cherishing the arm’s-length relationship, but there is very little evidence of that. Arts Council England is clearly having to work to the Government’s strategy and timing, as Darren Henley said in his evidence to the Communications and Digital Committee, and as was referred to by the noble Earl, Lord Clancarty, and the noble Lord, Lord Freyberg:

“We were asked by the Government to move some money out of London”—


it sounds almost illicit, does it not?—

“£16 million in year 1 and £24 million by the end of year 3.”