Beneficial Ownership Registers: Overseas Territories and Crown Dependencies

Debate between Baroness Hodge of Barking and Robert Neill

Thursday 7th December 2023 Commons Chamber

[Dame Margaret Hodge]

The right hon. Member makes a really important point, which I will come to later. He is right: this is a national security threat as well as a threat to our economy.

The Government have yet to comply with the legislation by making an Order in Council to mandate compliance by the overseas territories. After discussions between the Crown dependencies and the right hon. Member for Sutton Coldfield and myself, the three Crown dependencies —Jersey, Guernsey and the Isle of Man—announced in May 2019 that they were committed to introducing public registers and set out a plan to do so. Although I welcomed that in principle, I was concerned that their commitment was qualified and that their action plan contained a number of opt-out clauses. However, on the basis of their commitment, we chose not to legislate but to trust them. It now seems that our trust was misplaced. They are reneging on that commitment and using every excuse not to comply.

[Sir Robert Neill (Bromley and Chislehurst) (Con)]

I understand how strongly the right hon. Member feels. May I point out that, as a matter of constitutional fact, we have no right to legislate for any of the Crown dependencies? Constitutionally, they are not subject to the jurisdiction of this Parliament.

[Dame Margaret Hodge]

I have enormous respect and time for the hon. Member, but I have an opinion from a renowned KC that we sought at that time—I will come to it later—which contradicts entirely his point and says that we do have the constitutional right to legislate.

Performing Arts: English National Opera

Debate between Baroness Hodge of Barking and Robert Neill

Monday 5th December 2022 Commons Chamber

[Sir Robert Neill]

I certainly agree with my hon. Friend. The ENO has been about expanding horizons and expanding opportunities. The irony is also that, because of the hard work of its current leadership, and because of the work that has been done by its chair, Dr Harry Brünjes, by its board, and by its chief executive, it is on a sound financial footing.

The ENO was praised by the chair of the Arts Council as being never better led, and the Arts Council’s internal documents show that its governance is beyond reproach. On its financial situation, risk is seen as moderate—for any company in theatre, that is, frankly, very good. It has actually built up reserves and has done all the right things, putting the operation on a much more commercially aware basis. Those at the ENO spend time bringing in musicals to cross-subsidise some of the less accessible and more challenging work, but that is an important part of their mission, too. They have done everything expected of them in the Arts Council’s own objectives, and have ticked the box on the Art Council’s own internal assessments of the Let’s Create objective.

Why is it, then, that a company that has done everything asked of it, and succeeded, has the rugged pulled from under it by the Arts Council, on 24 hours’ notice, with no consultation, no evidence base—that we have seen—to underpin it, no strategy to underpin the approach to opera as an arts form or, generally, to the way that vocal arts are dealt with in the United Kingdom? Why is it, then, that the chorus and orchestra are threatened with redundancy and the creatives are likely to be on notice? That is all on the basis of a laudable objective of the Government to spread where the arts are found in this country. I do not disagree with that, but it is done in such a manner that the Government’s own objective is, I regret to say to the Minister, undermined and almost discredited.

[Dame Margaret Hodge (Barking) (Lab)]

I congratulate the hon. Gentleman on securing this debate, although as the hon. Member for East Worthing and Shoreham (Tim Loughton) said, it is sad that he had to do so. Does he not agree that this is the most scandalous decision, given every objective of the Government and of the Arts Council to widen participation and access to this unique form of art? The ENO is the one place where British young artists have the opportunity to develop their careers, to start performing to the public and to be seen by both national and international opera houses.

The Arts Council worked with the theatre that I chair in east London to put on a performance of “Noye’s Fludde” by Britten. They brought in about 50 young children from Newham and Tower Hamlets in east London, who participated as actors in that production. They managed to win an award out of it, which was absolutely tremendous. Is that not all about widening participation, opening access and levelling up?

[Sir Robert Neill]

The right hon. Lady is entirely right. A few statistics bear that out: 50% of the ENO’s audience come to see an opera for the first time. I was at its new production of “It’s a Wonderful Life” only last week. On Friday I went to see the last performance of “The Yeoman of the Guard”. I have never seen a younger audience in an opera house on either of those occasions. A few months ago I was at “Tosca” when it first opened and saw the same thing—standard repertoire, some would say—young people who are enthusiastic about serious art done to an international level. To undermine that would be vandalism of the very worst order.