Community Theatre

Peter Swallow Excerpts

Wednesday 12th March 2025 Westminster Hall

[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.

Oral Answers to Questions

Peter Swallow Excerpts

Wednesday 20th November 2024 Commons Chamber

[Peter Swallow (Bracknell) (Lab)]

My constituents in the village of Crowthorne will welcome the Government’s action to tackle this massive issue and support connectivity for phones and 4G in rural and semi-rural constituencies. Will the Minister have a meeting with me to discuss the issues affecting Crowthorne?

[Chris Bryant]

I am getting more popular day by day, which is unusual in my life. I am, of course, very happy to discuss the issues in Crowthorne.

One thing that really concerns me is that quite often, the published version of what connectivity is available in everybody’s constituency will say that there is 92%, 93% or 95% of connectivity from all four operators, but actually, if we stand there with a mobile phone, there will not be any connectivity whatsoever. I have written to Ofcom and it has written back saying, for instance, that in that precise location the coverage may be above or below the predicted level, leading some consumers to not get the service they expected. There is a phrase for that.