Covid-19: Cultural and Entertainment Sectors

Tracy Brabin Excerpts

Tuesday 2nd March 2021 Commons Chamber

[Tracy Brabin (Batley and Spen) (Lab/Co-op)]

May I take this moment to welcome my hon. Friend the Member for Cardiff Central (Jo Stevens) back to her rightful place on the Front Bench?

It is good news, if it is true, that there will be £400 million more for the creative industries in the Budget. Most of the funding, of course, will be going to the culture recovery fund, which is overdue, as the period that the fund was supposed to help organisations has stretched considerably. However, I particularly welcome new funding for community cultural projects, as local creative groups are often incubators of talent that go on to be world-beating creators of content, but of course the devil is in the detail.

After speaking to friends in the sector, there are a couple of points I would like to raise for the Minister to answer. Will this extra money mean that there will be a hike in VAT before the sector can get back on its feet? Will this money be recouped from local authorities, which have already had their budgets cruelly cut? They are some of the biggest providers of culture in our communities. Also, insurance is particularly important for our festivals and touring shows. Glastonbury has already said that it is unable to take the risk, and Download will not be back until 2022 because of the pandemic. Now that there is a “not before” date in place for festivals, insurance is the last stumbling block for organisers.

Dance, drama and music students have had their training cruelly interrupted. They have no chance to work together in ensembles or to put on a play. These students, the new talent, have been poorly served, with some drama schools shrugging their shoulders and saying there is nothing more they can do, but with the students still being forced to pay the eye-watering cost of their training. Can the Minister tell us whether any work is under way with colleagues in the Department for Education to support bringing this future generation through? This is being particularly keenly felt by working-class students, who could fall by the wayside without the high-quality and thorough training offered by our country’s exceptional conservatoires. The playwright James Graham commented after the Golden Globes:

“Daniel Kaluuya wrote a play aged 9, breakout role @royalcourt. John Boyega at @TheatrePeckham. @JoshOConnor15 at @BristolOldVic, Emma Corrin in student theatre.”

Talent does not just arrive; it has to be grown. The ecosystem of the arts must nurture diverse voices, and if the Government want to level up the country, I would like to know where the plan is to ensure that those traditionally further from opportunity get support and training. We have also heard about the workforce, and I will not go into that again, but if the speculation is true that a rise in national insurance for the self-employed is imminent when so many have not had a penny of support, that is a step that will feel particularly cruel. Finally, can the Minister give us an update on the creative passport arrangements that will support our tourism sector so that it goes on to flourish?

UK Musicians: EU Visa Arrangements

Tracy Brabin Excerpts

Tuesday 19th January 2021 Commons Chamber

[Caroline Dinenage]

Quite simply, of course touring is still encouraged. Artists and musicians from the EU are very welcome and encouraged to visit and perform in the UK, and absolutely vice versa. I am sure that individual member states have different restrictions when it comes to visas and work permits; some are very limited, some are a little bit more complicated. This is very much a quid pro quo—it works for the EU as much as it does for our musicians here in the UK—and I am sure that many countries want to come to an arrangement that will allow their musicians to move, travel, work and tour and to take their beautiful music around Europe.

[Tracy Brabin (Batley and Spen) (Lab/Co-op)]

I am sure the Minister will agree that this is a double whammy for anyone who cares about levelling up and the creative industries in West Yorkshire and beyond. Recent figures show that the creative industries in West Yorkshire and the Humber have grown by 10.9%. It is really important for jobs and opportunities that we keep this industry flourishing, so will the Minister tell us what the Government have put in place to compensate for the inevitable loss of these opportunities, and will she make available what impact assessment has been done on the changes that this will make to the ability of businesses to continue to flourish after covid?

[Caroline Dinenage]

Of course we know that this has been such a horrible year, particularly for the sectors that I represent—the cultural and creative industries in west Yorkshire and around the whole UK. Covid has been a bitter blow. Of course we did not get the agreement with the EU that we wanted on touring musicians, but we want to do everything we can to support them, including providing clear, easy-to-access information and speaking to our colleagues in EU member states. We will also talk to our colleagues in the Treasury to see what financial support can be put in place at a future fiscal event.

Oral Answers to Questions

Tracy Brabin Excerpts

Thursday 10th December 2020 Commons Chamber

[Caroline Dinenage]

The hon. Gentleman is right to talk about all the amazing parts of the industry that support our creative and cultural venues up and down the country. Of course this Government have just put in an incredible amount of unprecedented business support right across every sector—over £100 billion for the furloughing scheme, the self-employed income support scheme, grants, loans, VAT deferrals—and for freelancers we know the best thing we can do is get our sectors back up and running. That is what the culture recovery fund is all about.

[Tracy Brabin (Batley and Spen) (Lab/Co-op)]

Today, research from the Creative Industries Policy and Evidence Centre has shown that in the last six months there have been 55,000 job losses in music and the performing and visual arts—all that talent, dedication and diversity of voices lost. Our creative workers are desperate to get back to doing what they do best, and we know the simplest way to get money to freelancers is to make shows, but to do that producers need a safety net. Germany has just announced an indemnity fund so event organisers can plan for the second half of 2021 without the financial risk posed by a potential covid outbreak. Industry predictions suggest a three-month indemnity here could get the sector back on its feet. I know that the Minister is receptive to this idea, so can she explain what is holding things up? Has the Chancellor again said no?

[Caroline Dinenage]

The hon. Member is absolutely right to highlight that our creative industries are a fantastic success story. They contribute more than £112 billion to our economy, more than the automotive, aerospace and life sciences sectors combined, so we do need to do everything we can to help them. The next stage of the cultural recovery fund will be announced shortly—that is another £258 million—and we are looking very carefully at the German insurance model. It has only been announced this week so the details have not been made clear. We have to be sure that it really is the only obstacle to things being able to reopen, but we very happy to have those conversations with the Treasury.

Coronation Street: 60th Anniversary

Tracy Brabin Excerpts

Wednesday 2nd December 2020 Commons Chamber

[Mr Speaker]

We are about to start the Adjournment debate. Some Members from the north-west were determined to come here and, quite rightly, Tracy Brabin came to me and said, “Mr Speaker, we ought to be aware that it is a very important event, and I would like to have an Adjournment debate.” How could I stop that?

Motion made, and Question proposed, That this House do now adjourn.—(Eddie Hughes.)

[Tracy Brabin (Batley and Spen) (Lab/Co-op)]

What an enormous pleasure it is to be able to discuss the much-loved British institution of “Coronation Street”, as it reaches the grand old age of 60 and is still going strong. Our constituents have gone through so much in these last few months, and it is nice to be in this place to discuss something upbeat and positive. Reaching its diamond anniversary is a phenomenal achievement, especially as it remains so incredibly popular, attracting an average audience of—can you believe that it is more than that of the Parliament channel?—7 million viewers for each show.

First screened on 9 December 1960, “Corrie” was part of a new realism that was sweeping through the theatre, with “Look Back in Anger”, James Dean, Brando, and kitchen-sink dramas. Hardly anyone had a colour telly—remember that?—and there was no such thing as a remote. There were certainly no streaming channels, and we turned the telly off at 11 and went to bed. Created by scriptwriter Tony Warren, “Coronation Street” did not have a straightforward beginning, and was originally rejected by Granada television before being commissioned to run for 13 episodes. It was a slow burn, with Daily Mirror columnist, Ken Irwin, saying that it would “only last three weeks.” Earlier this year its 10,000th episode was broadcast, and in 2010, it became the longest running television soap opera in the world, earning a place in the “Guinness Book of Records.”

Set in the fictional working-class Weatherfield in Salford, “Coronation Street” has never disguised its roots. It is warm and authentic, at times laugh-out-loud funny, and at other times deeply affecting. From the very beginning, the northern dialect was used. I do not know if any hon. Members are old enough to remember those early episodes, with a young man by the name of Ken Barlow achieving a university place and finding himself embarrassed about his working-class upbringing. As a proud northerner, that is not something I have ever felt, and I am proud that this show, which is as much a part of British culture as a nice cuppa, a fish ’n’ chip supper, or sitting down to the Queen’s speech on Christmas day, is played out in a working-class community in the north.

In among the love stories, the breakups, the punch-ups, and the laughs over a hotpot, “Corrie” has always been true to the everyday difficulties that life, particularly working-class life, can bring, with strong feisty women at the centre of the action. As Ena Sharples classically said, “I don’t expect life to be easy. I’d think very little of it if it was”—a good rule of thumb for the moment.

Since those early days on the street, we have witnessed one or two things happen to the people of Weatherfield over the decades—many things—and those famous cobbles have been the stage to storylines that have gripped our country. We have cried together, gasped together, laughed together, and learned together. There have been iconic storylines that caused the nation to take a breather from people’s busy lives, make a cuppa, and pop “Corrie” on the telly—the train crash, the tram crash, the whodunnits, Richard Hillman’s reign of terror, Alan Bradley being killed by a tram in Blackpool, Deirdre, Ken, and Mike’s love-triangle! A certain Tony Blair got involved in the campaign to Save the Weatherfield One, when Deidre was falsely imprisoned, and a certain Tricia Armstrong was sent to prison for not paying her TV licence, and then gave birth behind the bar in the Rovers Return. Alongside all the entertainment, “Coronation Street” has bravely challenged us and our way of thinking with groundbreaking storylines.

[Jim Shannon (Strangford) (DUP)]

Will the hon. Lady give way?

--- Later in debate ---

[Mr Speaker]

Mr Shannon, I said you could intervene. I will put you down to speak. You do not need to make a speech in an intervention.

[Tracy Brabin]

That was a really excellent intervention, because it highlights the quality of the writing and the pressure that the crew and the actors are under, in this time of covid, to deliver those performances while being two metres apart, while wearing masks in public areas and while having all those other restrictions, and often in one or two takes, if they are lucky. Those authentic, passionate, emotional performances absolutely gripped the nation, and it is now on record in Parliament that they are two extraordinary actors. They will definitely be in line for awards.

The stories I spoke of have helped untold numbers to understand their own personal difficulties, to speak out and to get help if they need it. Hayley, the first ever transgender British soap character, was portrayed wonderfully by my good friend Julie Hesmondhalgh, who gripped us right to the end when she committed suicide in Roy’s arms.

[Kate Osborne (Jarrow) (Lab)]

I congratulate my hon. Friend on securing this debate, and I congratulate all the team who work on “Coronation Street” on reaching this milestone. Does she agree that “Coronation Street” should be recognised for its groundbreaking storylines over the years? She mentioned the first trans character in a British soap in, I think, 1998 and how “Coronation Street” has sensitively highlighted social issues such as that, teen pregnancy, domestic violence and male rape.

[Tracy Brabin]

That is a great intervention, because wasn’t it groundbreaking? So many families watching that storyline in their living room may not have understood the humanity or the difficulties of being trans in 21st-century Britain, but they loved Hayley. It opens people’s mind to things they may not necessarily have experienced, so my hon. Friend is absolutely right. Those script writers pushed the boundaries. They were very brave to have that storyline, but we loved her. We really did love that couple so much. It was absolutely heartbreaking.

To pick up on a couple of other storylines: Aidan’s suicide, which led to more calls to the Samaritans than they have ever had; Shona’s memory loss; revenge porn; racism, with the writers working closely with Doreen Lawrence to make it authentic and to give it credibility; and James, a young gay footballer struggling against homophobia. And, right up to recent days, with Bethany Platt’s sexual exploitation, David Platt’s male rape ordeal, Yasmeen’s marital coercive control and, as was mentioned, the sad death of baby Oliver. Never shying away from a difficult storyline and shining a light into the lived experience of others is what our soap operas do best. They strive to inform as well as to entertain.

[Rob Butler (Aylesbury) (Con)]

I congratulate the hon. Lady on securing this debate. As a long-time fan of the programme and, indeed, her role in it, I am a little bit jealous, having only graced the small screen reading the news—nothing as glamorous as the Street. She mentioned the topical storyline of the challenge of being a gay footballer, but I would submit that the Street has done a great deal over many years to support challenging attitudes to homosexuality, particularly by following the experiences of existing and well-loved characters such as Todd Grimshaw or Sophie Webster as they came out, and more recently gay parents. Does she agree that it is by being entertaining that information is often best imparted and taboos are overcome?

[Tracy Brabin]

I thank the hon. Gentleman so much for that intervention—he is absolutely right. As we were saying about the trans character, these things could not be discussed in any other forum than that of a show. Looking at fictional characters, we wonder, “What would I think if I was that person?” Storytelling has huge power to change people’s mind.

If my history of soaps is correct, the first ever male gay kiss on television was on “EastEnders” and the first female gay kiss on “Brookside”. We must not forget the power of those shows to get that liberal view and those conversations going in people’s living rooms. As Dame Carol Ann Duffy said at the funeral of the creator of “Coronation Street”, Tony Warren,

“the millions who have loved Coronation Street for over half a century have lost their Dickens.”

Isn’t that the truth? He and others are commentators on our lives; they amplify and give opportunities to share experiences.

“Corrie” has given us actors and characters so well written and so brilliantly acted that they could be part of the family. Names such as Jack, Vera, Roy, Rita, Steve, Gail, Ken, Sally, Jim, Betty, Mike, Fred—the list could go on and on of characters so distinctive that they are recognised across the country by their first name alone. It is also a show that incubates talent, giving new actors a chance to cut their teeth on great storylines and powerful emotions. “Corrie” gave us early moments in the careers of Ben Kingsley, Sir Patrick Stewart, Joanna Lumley, Sarah Lancashire, Joanne Froggatt and Bradley Walsh. Even Sir Ian McKellen dropped by, wearing a very dodgy hat and scarf, I seem to recall.

Writers including Jack Rosenthal, Kay Mellor, Sally Wainwright and Paul Abbott have all worked in the writers room carving out brilliant plotlines and one-liners. So powerful is the writing that as a young girl I felt the trials and tribulations facing the Duckworths were as vivid as those of my own family. To go on to become part of “Coronation Street” was almost an impossible dream.

[Andy Carter (Warrington South) (Con)]

I happened to switch on my TV, and when I saw “Corrie” was being discussed I had to come down and pay tribute as a north-west MP. It is not just the actors and the writers that “Coronation Street” has developed. There are also the back room staff who are so critical to delivering brilliant television day in, day out—the wardrobe team, the make-up artists, the camera operators and so on. “Coronation Street” and Granada Television have fostered and developed that talent, transforming the north-west of England into a TV powerhouse. I am sure the hon. Lady agrees, having spent time at Granada studios, that that embryonic development has played a significant role in transforming the north-west media environment.

[Tracy Brabin]

I could not agree more, and I will go on to talk about how creativity and the creative industries can be a powerhouse and an engine of regeneration in our communities in the north.

Let me speak a little more personally for a minute. I grew up in a housing estate in Howden Clough in Batley, watching acts at the Batley Variety Club. For a working-class kid like me, it was a source of pride and wonder that huge stars of the day, such as Shirley Bassey and Louis Armstrong, came to my bit of the world. Seeing photographs of Eartha Kitt eating chips in Dewsbury market is sort of mind-blowing. It set me on a path that was hard. I worked in precarious jobs trying to make it, sleeping on couches and living hand to mouth, like so many aspiring actors do. We all know how tough it is to get on in such industries for those who do not have rich parents,. For working-class northern actors, working on “Coronation Street” meant you had arrived. We had grown up watching it, and we wanted to be in it. I got the chance to work with the legends of “Corrie”—Jack and Vera, Raquel, Bet Lynch and Betty Turpin—watching and learning. As someone who had not been to drama school, the ability to memorise pages and pages of script overnight and bring authentic emotions and truth to the work was a skill I learned on that job.

Many may know me as Tricia Armstrong, but aficionados may also know that I joined the show for three episodes playing Chloe, a toy shop manageress. It was a Christmas episode, and I ended up on top of the roof of the toy shop with Peter Baldwin dressed as Father Christmas. I must have impressed in that role, because I was then invited to come back a number of years later as Tricia Armstrong. That first day was, as the House can imagine, very overwhelming. Everybody in the green room was a famous face. When you have William Roache—he is now, unbelievably, 88—saying, “Would you like a cup of tea, Tracy?”, it is quite a surreal experience, as was working with Liz Dawn, who had her lines stuck all over the set like in “The Generation Game”, because she could not remember all of it. As long as there was a bit of script somewhere, she was all right. Famously one Christmas she pulled out the chicken and the lines were on the bum of the chicken as it came out—I thought, “Very convenient.” Then there was Annie Kirkbride, who we all sadly miss, who played Deirdre. Her wicked sense of humour creased us up in serious scenes.

Having struggled with the feast and famine nature of the freelance life, it was such a huge relief to have regular paid work, a paid holiday and a chance to save. More than that, it was the honour of being part of something so associated with my class and being in the homes of people every night who shared my accent and my experiences.

“Corrie” is not just about portrayal or about telling working-class stories brilliantly; it is, as the hon. Member for Warrington South (Andy Carter) says, absolutely about jobs in the north. It is not just about actors and directors, but schedulers, designers, editors, costume and make-up, researchers, the props team, office staff, accountants, carpenters, electricians, painters, security guards and canteen staff—the list goes on.

Mr Speaker, you may know I am standing to be the candidate for the West Yorkshire Mayor. If I am elected, that experience on “Coronation Street” will drive my creative new deal, because our entertainment industries also have the power to build our economies, to deliver regeneration and to provide opportunity, hope and skills, and that process will take inspiration from “Coronation Street”, as it has shown us how important television can be for the economy.

“Coronation Street” has a bespoke 7.7 acre set in the north-west. It employs about 450 people and hundreds and hundreds of freelancers. It firmly cements the importance of the north in TV’s history, and in its future, too. We know it is a creative powerhouse, and the skills and talent it nurtures and develops have aided and continue to aid the gentrification of Salford.

I know that ITV takes the development of skills very seriously. To this day, it supports Tony Warren’s determination to be a champion of local talent. Tony wanted to support disadvantaged young people to get a career in an industry that is famously difficult to get started in. Shortly before his death in 2016, he worked with “Coronation Street” and ITV to establish a bursary to support local actors from disadvantaged backgrounds to train at drama schools. I can think of no better legacy for a man whose creation has brought us 60 years of public service broadcasting at its best.

The success of “Coronation Street” is built on a healthy and well-supported public service broadcasting system. In order to preserve these valuable national treasures, reforms need to be made to protect and support our PSB. I hope that the Minister, when he gets to his feet, will also reflect on that and work with the broadcasters and Ofcom to ensure public service broadcasters can continue to deliver for their audiences and, more urgently, for our regions.

Like all parts of life, covid has put massive obstacles in the path of “Coronation Street”, and the team has worked hard to overcome them. The Rovers Return is not that busy these days. The desks in the factory are slightly more spread out than they used to be, reflecting the regulations of real life, and keeping cast and crew as safe as possible while bringing familiar entertainment to our homes. While the Minister is here, let me say that large parts of film and television production have been able to get back on track thanks to the support of the Government around insurance. Screen production is part of a creative ecosystem, and to get it fully functioning once again our performing arts, theatres, music festivals and venues also need that insurance support to keep as buoyant as they can be.

During the last few months of pain and frustration, there have been many times when I am sure that many of us would have found familiarity and comfort in these words from the legendary Blanche, written by my good friend Damon Rochefort: “In my day, summit bad ‘appened you stayed home, got drunk and bit on a shoe.” I think that is quite a good metaphor for the times we live in.

If there is one thing in our country that can cross political divides, it is our love of “Coronation Street”. I am incredibly proud to have been part of the show’s history. I am one of thousands of actors, writers, producers, directors, costume makers and off-screen staff who have worked around the clock—trust me, I absolutely mean around the clock—to bring this programme to our screens year after year, decade after decade, never slipping in quality. Now I am proudly one of the millions of fans of “Coronation Street” who make the show so special, and I know that history is still there to be made, so here’s to the next 60 years.

[Mr Speaker]

Thank you. As somebody who was born and brought up in Granadaland and who has seen “Coronation Street” develop, it would be remiss of me not to be in the Chair at the start of this debate. Shortly I am going to hand over to another north-west Chair from Lancashire—Nigel Evans, no less. It is interesting that in “Coronation Street”, they always talk about going to Chorley market, because they know the good value of Chorley market. The other thing, of course, is that Ken Morley is from Chorley; he is just one of the stars who have been in “Coronation Street”. At home I have a tray from Newton and Ridley from the set of “Coronation Street”. Both myself and Mr Evans were on “The Politics Show” and we had to answer a certain number of questions. Guess who won—I’ve got the tray!

No more from me. I call Conor Burns.

--- Later in debate ---

[The Minister for Media and Data (Mr John Whittingdale)]

I am not sure I can claim that title, particularly having listened to the contributions this evening. I would like to start by congratulating the hon. Member for Batley and Spen (Tracy Brabin) on obtaining the debate and managing to unite the House. Members on both sides of the House have spoken with real admiration and affection for what is undoubtedly the world’s greatest soap.

I am delighted to join others in congratulating “Coronation Street” and ITV on the 60th anniversary. At the beginning of this year, the programme transmitted its 10,000th episode, and the 60th anniversary is next week. It is the world’s longest running soap opera, and it is still the most popular. It also demonstrates the extraordinary changes that have taken place in the media landscape over those 60 years. Today, it is still bringing in the biggest audience of any soap, but that is around 7 million, whereas in the ’90s, it was regularly getting 20 million. Indeed, the departure of Hilda Ogden in the 1987 Christmas episode had an audience of 26.65 million. It is still getting something like a third of the audience share. This just shows how linear television has changed during that time, but nevertheless, “Coronation Street” has maintained its position at No.1.

I cannot claim the encyclopaedic knowledge that has been displayed by so many Members, but I, too, have twice visited the set of “Coronation Street”. As my right hon. Friend the Member for Bournemouth West (Conor Burns) said, the first time I did so was with Margaret Thatcher in January 1990, and it was indeed the case that I had to brief her on the way to the set on the characters who were stars at that time. I did indeed go through all the various storylines, and she was particularly keen to visit Alf Roberts’ corner shop, because of course her own father was Alfred Roberts, who ran the grocer’s shop in Grantham. She arrived on set and was very upset to see that Alf Roberts’ corner shop had the sign saying, “Licensed to sell alcohol”. She said that that would certainly have never been allowed in her father’s shop, as he would not have dreamt of selling alcohol. Having said that, she did then visit the Rovers Return, but she was very clear that she would have a bitter lemon from behind the bar.

Some 24 years later, I was lucky enough to visit the set again. This was organised by the redoubtable Jane Luca, of ITV, whom I suspect was responsible for the visits of most of my hon. Friends who have spoken of their own experiences. She organised for the Select Committee on Culture, Media and Sport, which I was Chair of at the time, to visit the new set. This was in 2014, after the set had been transferred to the new location in MediaCityUK in Salford. I was indeed accompanied by my right hon. Friend the Member for Bournemouth West, whose excitement at going to the new set I remember. We met a number of cast members, including Michelle Keegan and Sam Aston. One thing that struck me was that the set had been made slightly bigger so that two cars could drive down the street and pass each other, and 54,000 cobbles had been laid, with extraordinary attention to detail. Each cobble was both positioned and weathered in order that it remained absolutely authentic. My hon. Friend the Member for Warrington South (Andy Carter) referred to the extraordinary amount of ancillary occupations involved and jobs created on a major TV production—I suspect that the 54,000 cobbles employed quite a lot of people.

Over the years, “Coronation Street” has had a number of famous visitors. There is a wonderful picture of Alfred Hitchcock peering around the door of the Rovers Return, and a young Prince Charles visited. As the hon. Member for Batley and Spen and one or two others have said, many great actors started their careers in Weatherfield; as well as the hon. Lady, we have the trio of theatrical knights, Sir Ben Kingsley, Sir Ian McKellen and Sir Patrick Stewart, as well as Sarah Lancashire and Joanna Lumley. As well as the actors, screenwriters such as Jack Rosenthal and Russell T. Davies started off in “Coronation Street”, and directors such as Paul Greengrass, Mike Newell and Michael Apted all directed episodes.

A number of the speakers in this debate have referred to the willingness of “Coronation Street” to confront difficult issues, and we have heard a number of examples of that, starting with the issue of racism in the very early episodes in the 1960s. Since then, it has addressed teenage pregnancy; domestic abuse, of both males as well as females; and transgender issues. It has even covered the challenge of someone having to try to find the money to pay the TV licence and failing, with this resulting in imprisonment. I am happy to tell the hon. Lady that almost nobody now goes to prison for a failure to pay the TV licence or meet the fine. I am sorry that in her case this came at a time when that was not true.

[Tracy Brabin]

It was pressure from this place that changed that law and a subsequent “Panorama” programme that unearthed all these cases of women who were sent straight to prison for non-payment. So I would like to thank the predecessors of MPs in here who saved so many women from experiencing that.

[Mr Whittingdale]

I am grateful to the hon. Lady for that. It has been some years since anyone was sent to prison for that and I hope it does not happen again, but it was disproportionately women who suffered.

My hon. Friend the Member for Buckingham (Greg Smith) talked about the issue of raising awareness of sepsis. It is perhaps worth observing that there cannot be another street in Britain that has experienced so many disasters and so many tragedies in such a short space of time.

Of course, most recently, the programme has had to wrestle with the challenges of covid, both in terms of production and also as a storyline. Covid stopped production of “Coronation Street” in March, but it was able to resume in June under the protocols to ensure safety. I want to pay tribute to the ITV health and safety team and to Magnus Brooke of ITV who played a very large part in helping to draw up those protocols so that not just ITV Studios productions could get going again, but all the other broadcasters and film companies could, too.

I have been chairing the broadcasting, film and production working group, which has brought together representatives of all the broadcasters, film companies and production companies to discuss how we could get production going again. We have now put in place very strict protocols to ensure that production can take place safely. As the hon. Member for Batley and Spen mentioned, we have also put in place the £500 million film and TV restart scheme. She is absolutely right that one obstacle was the difficulty in obtaining insurance of productions against the possibility of their having to stop because of covid. I am glad to say that that is in place and, as a result, productions have been resumed by most of the major broadcasters and film companies, but it has required some quite inventive solutions.

I understand that, on “Coronation Street”, furniture is quite often placed between characters in order that they can remain apart and socially distanced. Indeed, in a particularly inventive way, filming of romantic scenes takes place with one actor sitting on one end of a sofa looking longingly at a tennis ball suspended from the ceiling and then, once that section has been filmed, the other actor takes their place at the other end of the sofa and stares at a different tennis ball longingly and the production crew then splice the two together so that no one can tell. It is very important not just, obviously, that production is done safely, but that a show like “Coronation Street” gets across the public messaging about the importance of maintaining social distancing and mask wearing. “Coronation Street” had the socially distanced wedding between Maria and Gary.

I fear that it is almost certain that Weatherfield would still be in tier 3 at the end of the national lockdown, which would mean that the Rovers Return would be able to supply only a takeaway service, but I hope that it would not be long before the Rovers Return would be in tier 2, which would, of course, allow the sale of alcohol with a substantial meal such as Betty’s hotpot.

The hon. Lady also rightly referred to the importance of the UK production sector and our creative industries and the need to ensure that every region and every nation of the UK benefits from them, and we have been very keen to ensure that more production is done outside London. The BBC now has a major centre in Salford at MediaCity. ITV is now located with the “Coronation Street” set there. I have also had the pleasure of visiting the “Emmerdale” set in Leeds. ITV still has a presence in Leeds and Channel 4 has now established its headquarters in Leeds. I am absolutely clear that it is very important that we continue to encourage production to take place right across the UK, because it brings enormous economic benefits in terms of jobs and wealth creation.

The hon. Member for Batley and Spen and my hon. Friend the Member for Buckingham referred to the importance of public service broadcasting. We are living through extraordinary changes in the media landscape that have brought huge extra opportunities for viewers in the range of content available through a number of streaming services that did not even exist two or three years ago. Now we have a choice of Amazon, Apple, Disney and Netflix, as well as Sky and the public service broadcasting companies. The PSBs have a tremendous role in supporting the UK creative industries, and while some of the streaming services are now commissioning content in this country, because we are so good at it here, the PSBs nevertheless still represent the major commissioners of UK content. We have recently established the Public Service Broadcasting Advisory Panel to examine the way in which PSB needs to adapt to this new landscape, but I am absolutely clear that there is still a role for public service broadcasting, and we will be looking at the issues and challenges facing public service broadcasters, such as the issue of prominence that my hon. Friend the Member for Buckingham raised.

I would like to conclude by joining all those who have spoken in paying tribute to a show that has not only brought pleasure and entertainment to millions of people over the course of the last 60 years, not just in the UK but in many other countries around the world, but also played a vital role in raising awareness and affecting attitudes on so many important public issues. As several people have said, I look forward to at least another 60 years.

Covid-19: Support for Rugby League

Tracy Brabin Excerpts

Monday 2nd November 2020 Commons Chamber

[Yvette Cooper]

I agree, and in the end that was the purpose of calling for this debate. We welcome the loans that the Government provided earlier in the year, the work that was done between the Government and the RFL, and the support for our clubs. That has been really important, but our rugby league clubs are under huge pressure now and they need more support. We need a new action plan going forward; the bills still have to be paid.

[Tracy Brabin (Batley and Spen) (Lab/Co-op)]

My right hon. Friend is making a fantastic case for rugby clubs up and down the country. Castleford Tigers are fantastic. In my constituency we have the Batley Bulldogs, and we have seen the work that they are doing at the heart of our community during the pandemic. Does my right hon. Friend agree that it is quite simple—we could turn the £16 million loan into a grant, and we would save the clubs overnight?

[Yvette Cooper]

My hon. Friend is right, because the challenge is that the loans need to be repaid. The expectation has been that they need to start being repaid next year. Well, we are not through the covid crisis yet. We still do not have the supporters back in the grounds and there are still huge financial pressures on our clubs. It is simply not realistic, and not good for the sport or our communities, to insist on those loans being paid back. The point that she makes about grants is exactly one of the things that I want the Government to consider.

Cultural Attractions: Contribution to Local Economy

Tracy Brabin Excerpts

Tuesday 6th October 2020 Westminster Hall

[Tracy Brabin (Batley and Spen) (Lab/Co-op)]

It is a real pleasure to serve under your chairmanship, Sir Charles. I thank the hon. Member for Cities of London and Westminster (Nickie Aiken) for securing this important debate. No one is a more passionate advocate for the west end than the hon. Lady.

Is it not delightful to be back in Westminster Hall, having proper debates? I cannot say how grateful I am to everyone who spoke in this debate. We have seen, across all parties, how everyone in the debate really cares about the cultural sector and the cultural industry. That includes people who worked in the industry, such as the hon. Member for Clacton (Giles Watling), or as I did for three decades as a freelance actor and writer; musicians such as my hon. Friend the Member for Cardiff West (Kevin Brennan), who is a fantastic musician, and I urge everyone to buy his album; or people whose children are interested in the arts. We all know, too, the impact that the arts have on our own communities, for wellbeing, tourism and so on.

Obviously, we are in a difficult time. I will go through some areas on which great points have been made. On the events sector, the hon. Member for Wimbledon (Stephen Hammond) talked about tests being done—can we see those tests being rolled out to open the sector up? The events sector feels absolutely abandoned and left to one side.

On community and how mental health is supported by work done in communities, my hon. Friends the Members for Luton South (Rachel Hopkins) and for Hammersmith (Andy Slaughter) talked about the work in their constituencies. In Hammersmith, I know that work is being done on equality, inclusion and diversity. My concern is that, as we get our sector back on its feet, such work will be the low-hanging fruit that we will lose across the piece—that work with communities and schools, and on bringing on new writers from diverse communities. It is vital for such work not to be cut as we try to survive.

Pantomime is the first chance that most young working-class kids have to go to a theatre. The concern for pantomime was mentioned by the hon. Members for Waveney (Peter Aldous) and for Warrington South (Andy Carter). Last week, in a great demonstration, in the panto parade we saw a lot of the freelancers in their pantomime dame costumes. The dedication they give to their sector is really a joy to behold.

In Vauxhall, we have the Young Vic. I am so excited about the work being done there, and about its anniversary. On our museum sector, as my hon. Friend the Member for Liverpool, Riverside (Kim Johnson) said, when we go to Liverpool we all know about the vibrancy and energy we get just from being on the streets, because the music-based passion for culture is at every corner.

Concerns were expressed about the involvement of councils and how we should support them. Theatres and music venues are civic centres. The hon. Member for Northampton South (Andrew Lewer) said that the council is one of the biggest investors, and that is absolutely true.

With tourism, we cannot get away from this—in the majority of our communities, tourism is held up by our cultural offer. My friend from the all-party parliamentary group for theatre, the hon. Member for Clacton, talked about his constituency and about the voucher suggestion—the seat out to help out. Any support for our regional theatres to open would be welcome.

Let us not forget the issue of freelancers. My hon. Friend the Member for Cardiff South and Penarth (Stephen Doughty) knows this perhaps more than others, because the BBC is in his constituency, but the BBC is held up by limited companies, freelancers, PAYE freelancers and creative freelancers, who come in and out for shows. They really need our support. The hon. Member for Glasgow Central (Alison Thewliss) has done so much to raising the issue of the excluded and freelancers.

The Minister has shown great dedication in this area. While the Chancellor clarified his statements to ITV by saying that they were not specifically about musicians, there is a sense that the creative industries feel misunderstood, as we heard this afternoon. They will be the last to come back and the least supported. There is a sense that they are not viable or that the people in them could retrain. As we know, musicians spend all their lives, day in day out, learning their musical instruments. To be told to become a care worker instead will only lead to poor mental health and depression because they are not doing the thing they have trained for. The Minister is assiduous and I am sure she will take that point back to the Chancellor. What was said on ITV has impacted us all and deeply upset the industry, which does not feel that the Government understand its value.

We all want to see our venues get back to normality. We have heard today about their financial impact. We have also heard about the cultural hub of a community in terms of visitors, support for local restaurants, taxi firms, employment and our local economies more widely. During the summer months when restrictions were easing, we had a sense of positivity and excitement, but with local restrictions it is unfortunately unlikely that those activities will flourish.

The Government’s furlough scheme and self-employed income support scheme are very welcome. I am very grateful and I know other hon. Members are also grateful that that has been extended. However, it has been extended in a way that makes it impossible to use. How does a venue that cannot open contribute to a workforce’s salary? Sadly, we heard today about the RSC potentially laying off hundreds of its staff, which will be devasting for them and their communities. We have also heard from the sector that delays in the cultural recovery fund have brought great anxiety.

I thank the Minister for her letter, which I received today, regarding my concern around the “crown jewels”. In my mind, the crown jewels are our community offer as well as the west end—the ecosystem of regional and community theatres that the west end needs. We are all intertwined—push over one domino and the rest of the dominoes will fall. It is really important that the money does not only go to the crown jewels.

When I put a call-out on social media for freelancers to tell me their experiences of what is happening—perhaps slightly foolishly—my inbox exploded and I received over 4,000 responses from people I know and care about. Couples have lost a year’s work and still have childcare costs and a mortgage, and they are leaving the sector. We have heard from the Musicians Union that one third of musicians are thinking of leaving the sector. The support for freelancers could not be more needed. Cineworld’s 5,500 workforce is a tsunami of job losses. The training is not there for people who want to retrain. We have to put support in as fast as possible.

In the time I have left, I have a number of questions for the Minister that I hope she will address in her response. I work with a culture committee of people in the sector and we had a meeting this morning. My understanding is that there is still no news of who has the money. Will the Minister explain the delay? On what date will the successful organisations receive their funding? A number of organisations did not apply for funding, because of the restrictions. For example, to show that they have tried everything to stay afloat, they have fired all their staff, or they were unable to show that they could spend all the money from the Government by 31 March. With stage 5 now kicked further into the year, have those criteria changed? Does that mean that those organisations that originally did not apply because they did not fit the criteria will now have an opportunity to apply? Clarity on that would be extremely helpful. What was the total number of organisations that applied and what was the total amount of funding applied for?

For concerts and theatre to return with confidence, we really need an answer about insurance. I asked the Minister a question about insurance in DCMS questions, but she was unable to give me an answer. I am sure that there are lots of conversations going on with the Treasury. We have insurance for film and TV, and that is why they are back up and running. What does she know about the negotiations that are happening around insurance? Can she at least give us a chink of hope around that issue?

Have the applications for loan supports been greater than expected? If so, will the cost of additional loans be taken from other funding pots? Would the Minister explain the 10 pm curfew that applies to music venues but not to theatres? What evidence can she share with us that the 10 pm curfew will save lives? In order for venues to reopen, they have to spend money on covid safety costs. Will they get that money back, even if they do not get money from the ACE funding? Is there a contingency fund in place to help venues that reopen but have to close again? What framework is in place to support local authorities and metropolitan Mayors to work together to support those who need support? Finally, I was surprised to learn that the cultural taskforce has been wound up for now. Can she elaborate as to why that is? Is there a feeling that its job is now done? I look forward to hearing from the Minister.

[Sir Charles Walker (in the Chair)]

The Minister has a lot to get through. Will she leave two minutes at the end for the Member who proposed the debate?

British Library Board (Power to Borrow) Bill (First sitting)

Tracy Brabin Excerpts

Committee stage & Committee Debate: House of Commons
Wednesday 30th September 2020 Public Bill Committees

[Tracy Brabin (Batley and Spen) (Lab/Co-op)]

It is a real pleasure to serve under your chairmanship, Mr Robertson.

I congratulate the hon. Member for Hitchin and Harpenden on his private Member’s Bill and on his very short speech. Mine will be slightly longer, so I would just like a little patience from the other Government Members.

I am a passionate supporter of the Bill. Labour supported it on Second Reading and we continue to support it in Committee. The British Library has been keen to obtain the power to borrow for some time; hopefully, that wait is almost over.

As a member of the British Library, I am a big fan of its work. When we debated the Bill back in March, which seems like a lifetime ago, Members from all parties were enthusiastic about the future of the library, especially after a Budget that brought good news for it: it promised £95 million for the Boston Spa Renewed project, and a further £25 million to support the library in opening a British Library North in Leeds city centre. Members will not be surprised to learn that, as a Yorkshire MP, I am very keen to see that come to fruition.

That is because a physical presence for our national institutions outside central London sends a powerful message, and opens the door to opportunity for all. Examples include the Victoria and Albert Museum in Dundee, the BBC in Salford and the Imperial War Museum North in Manchester, and soon Channel Four will have a presence in Leeds, which I have also championed. The British Library already employs hundreds of people at its impressive Boston Spa site, but I am looking forward to millions more having ready access to the library’s resources and exhibitions when it opens in Leeds.

I want to put on record that the power to borrow should not lead to an expectation of borrowing. The grant funding that the British Library receives must remain in place, and new powers to borrow must allow the library to innovate and pursue projects such as efficiency improvements to the estate, upgrading to more efficient digital systems, and developing commercial products and services that could supplement the library’s grant in aid. Also, I am keen to see the library use any financial freedom to improve its digital platforms, as the hon. Member for Hitchin and Harpenden said, and particularly its digital collections.

[John Spellar (Warley) (Lab)]

My hon. Friend rightly identifies the role of the British Library, a great British institution doing a lot of work in this country, but is it not also part of our international outreach? It engages with similar institutions as part of Britain’s cultural offer to the world, which is one of the great attractors to this country.

[Tracy Brabin]

My right hon. Friend is absolutely right. Certainly, when I sit in the reading rooms of the British Library, I see international students from all over the world. The library is part of the soft power that draws the cleverest people from across the world to London, and will hopefully draw them to Leeds.

I want the library to keep growing and expanding its outreach work. In many communities, libraries have been lost or cut, so it is important that exhibitions and galleries are not confined to King’s Cross. The library should always be seeking opportunities to get out to new areas. Indeed, it recently produced pop-up displays in over 20 partner libraries across the UK, through its Living Knowledge Network. That is the sort of innovation that I encourage; let us hope that we see more of it.

It is easy to look excitedly at the possibilities for the future and ignore the elephant in the room. Covid has impacted all walks of life, and the British Library has not been exempt. It was closed for four months, and even now, after reopening, footfall is significantly suppressed due to social distancing requirements. Of course, this has a major financial impact, and with visitor numbers a fraction of what they were, the library is likely to continue to face financial hardship for a period to come. I know that the library has drawn down on DCMS support already, and that all of us present are keen to see the library thrive again in future. I applaud it for prioritising access to reading rooms for medical research, and for using some of its space for a testing centre.

Earlier I touched on digitisation. The library has worked hard during covid to expand its online offering. The current exhibition of Hebrew manuscripts is available online, and its next exhibition, “Unfinished Business: The Fight for Women’s Rights”, has an exciting digital offer, too, including online discussions, a podcast series, and online resources for researchers.

The Bill brings the British Library in line with DCMS-sponsored museums and galleries, as well as the British Film Institute, the Churches Conservation Trust, Historic England and more, by allowing it to borrow money as its peers already do. However, we need to support the library, and many other organisations, not only in borrowing money in future, but in the here and now, during the covid crisis, and we need to reach out across our communities. The British Library has made great strides in that direction already, and we support it and its power to borrow money.

[Ian Paisley (North Antrim) (DUP)]

It is an honour to serve under your chairmanship, Mr Robertson. I want to speak in support of the Bill. It is absolutely essential that we support libraries, library services, and one of the finest libraries in the United Kingdom. It is a testament to what libraries should represent.

It was once said that

“A reader lives a thousand lives before he dies”,

and that we should never trust a person who does not bring a book to a room. It is important that we recognise the importance of people’s access to reading material. It gives them interaction, escapism, opportunity, and powerful learning. The British Library, of course, does so much more. It has an outreach programme, and I agree 100% with what the Opposition spokesperson, the hon. Member for Batley and Spen, said about libraries reaching people who are hard to reach.

The threat to library services has increased because of covid. If the British Library is able to borrow money, and extend its digital platform, so that people can access it through a new and increased digital awareness, that too will be a benefit, but that of course costs money, and we cannot have everyone coming to Government with their hand out, saying, “We need more money.” The Bill creates an opportunity and flexibility that allows the library to use its skills to gain resources to expand its services. I hope that that will be possible, and that this House will support the Bill completely. I look forward to seeing it enacted.

Oral Answers to Questions

Tracy Brabin Excerpts

Thursday 24th September 2020 Commons Chamber

[Caroline Dinenage]

I cannot agree with the hon. Gentleman that this package of support is not working. In his own constituency of Ealing, Southall, there has been £47,000-worth of emergency funding so far, and £500,000 in total support from Arts Council England in this financial year. We know that, more than anything, those who work in the sector just want to get back to doing what they love. The £1.5 billion cultural recovery fund will secure the future of performing arts and live events and protect jobs in the industry to allow them to do just that.

[Tracy Brabin (Batley and Spen) (Lab/Co-op)]

Millions in our country long for live performing arts to return, none more so than those who work in those industries. Some 70% of theatre workers are self-employed or freelance, but many are ineligible for the self-employed income support scheme and have been excluded from Government support since March, bringing extreme hardship. They desperately need the sector to be back up and running. While we support the Government’s road map to reopening, we know that socially distanced shows are simply not viable without insurance against covid cancellations. The Digital, Culture, Media and Sport Committee agrees, warning that without a pandemic indemnity scheme,

“efforts to resume filming, touring and live performance are doomed to failure”.

What representations has the Minister made to her Treasury colleagues for insurance support similar to that for film and television so that our incredible creative workforce can get back to what they do best when it is safe to do so?

[Caroline Dinenage]

As I have already articulated, I meet the sector on a very regular basis, and actually it has been its feedback that has helped to form, to shape and to drive the cultural recovery fund as we have it today. As I have explained, there is £95 million of additional support in there for individuals, including freelancers. We continue to listen. We continue to talk to Treasury colleagues to make sure that we are creative, inventive and thoughtful and doing everything we can to get our sectors back up and running.

Oral Answers to Questions

Tracy Brabin Excerpts

Monday 27th April 2020 Commons Chamber

[Oliver Dowden]

The Government are working closely with industry on the tech solutions that will enable us to beat covid-19, and I am sure that tech companies will play a key role in our economic recovery. We have already announced a new £1.25 billion package for innovative firms to ensure that our world-class tech sector remains resilient through this challenging period. That includes Government match funding for £500 million in convertible loans for businesses that require equity investment but are currently unable to access existing loan schemes. In addition, we have made available £750 million of loans and grants for exactly those small and medium-sized businesses to which my hon. Friend refers, which focus on research and development.

[Tracy Brabin (Batley and Spen) (Lab/Co-op) [V]]

I thank the Secretary of State for his answer: during this pandemic, access to digital devices and fast, reliable internet connection are more important than ever. We have gone online not only to shop, connect with friends and colleagues, order prescriptions and apply for support, but to access culture. The BBC’s “Culture in Quarantine” has brought joy to homes, and in a recent survey of 1,000 people in the north-east, 55.6% said that they were using tech to watch arts and culture that they had never considered prior to the pandemic. He knows that the creative industries fear for their future and that if they are to rebuild and flourish, the digital platform must grow, but, sadly, the cost of devices and poor connections mean that many cannot participate. What steps is he taking to ensure that cost does not discriminate against the digitally disadvantaged, and what plans does his Department have to widen access to the creative industries post-covid?

[Oliver Dowden]

I thank the hon. Lady for her questions—she raises a number of points and I will try to address them. First, I very much welcome the BBC’s “Culture in Quarantine”. I have had discussions with Tony Hall, the director general of the BBC, and we are working together on that. Indeed, I have engaged with some of it myself. The National Theatre put on “One Man, Two Guvnors”, and I very much enjoyed watching that and seeing arts in a remote form. I very much pay tribute to all the arts organisations doing that kind of innovative work.

It is very important that everyone can access technology, particularly the vulnerable. So, for example, we have announced that we are supporting the DevicesDotNow campaign, led by FutureDotNow, which is seeking donations of equipment from industry to help connect vulnerable people to vital Government services. We are going further, and I am working closely with my right hon. Friend the Secretary of State for Education to connect disadvantaged families and young people who do not currently have devices.

Football Attendances: VAR

Tracy Brabin Excerpts

Tuesday 17th March 2020 Westminster Hall

[Tracy Brabin (Batley and Spen) (Lab/Co-op)]

It is an honour to serve under your chairmanship, Mr Betts. I thank my hon. Friend the Member for Chesterfield (Mr Perkins) for securing this debate, which comes at a time of crisis for our country. Coronavirus has closed clubs up and down the country and loads of pressing matters are on Members’ minds today. Earlier we learnt that the Secretary of State for Digital, Culture, Media and Sport, the right hon. Member for Hertsmere (Oliver Dowden), is self-isolating with his family, so we send him our regards and hope that he gets well soon and is okay. Also, we send our thoughts to all the fans and players around the country who love the game. For them it is absolutely unbelievable that they have to go for weeks on end without watching their players or playing the game themselves, so we also think about them.

There is something incredibly British—

[David Linden]

Steady now.

[Tracy Brabin]

And something incredibly Scottish about our discussing VAR and football at a time of crisis. We have heard lyrical, passionate and poetic descriptions of the game. I agree with what the hon. Member for Glasgow East (David Linden) said about the smaller clubs. As we go forward with the closures, we really have to think about the small community clubs such as we saw in Bury a few months ago. We must try to put in place opportunities to protect them from closure because they are the very heart of our communities. They provide jobs and for the businesses that support those clubs it is really important that we make sure they survive this terrible crisis.

We are undoubtedly a nation of football lovers. Both recent World cups captured the public’s imagination, and the national teams of our home nations enjoyed fantastic support. There is a collective belief in the game. We want it to absolutely thrive. During the men’s World cup in 2018, most of the British football-supporting public experienced the video assistant referee for the first time. During the World cup, what became known as VAR was generally received as an exciting addition that made the game fairer, but managed to avoid becoming a hindrance. However, the same cannot be said when it was introduced into the premier league a year later at the beginning of the season.

It is easy to forget that, ahead of VAR’s introduction into our beautiful game, many were welcoming, some with a little trepidation, because it might have been the chance to make football fair. Far too often the back pages were dominated by a goal that might just have been or a goal that was or should not have been, or an unjust sending off or a dive outrageously missed by the poor mortal referees. VAR was an opportunity to allow football to thrive and to make the story about the sport and the drama, and not the controversy. Regrettably, such optimism quickly diminished.

This season, as we have heard from hon. Members, VAR has quickly established itself as the scourge of fans, commentators and pundits. Football is a game that happens in the moment. It is not comparable to tennis, cricket, snooker, or, to a lesser extent, rugby, where there are natural pauses or breaks in the game: an appropriate moment where there can be a quick look or a double check. Iconic moments in football when the ball ripples the back of the net and terraces erupt have too often been lost this season and replaced with anxious faces, as we have heard, watching the screen to see if the goal has gone to be checked. It causes undue agony for fans. The question is whether losing such moments of joy and jubilation are worth it in the pursuit of absolute decision-making accuracy. As things stand, VAR is losing that argument.

Too often fans in the stadium or at home, or even the players on the pitch, do not understand what is being checked. “Squint and you’ll see it” offsides are one thing, but the goals that get ruled out for a foul that happened much earlier in the play are another. However, easy as it would be, we must not get carried away with criticisms. Although my hon. Friend the Member for Chesterfield and others have called for VAR to be scrapped, it is quite possible that it is here to stay. This is the maiden season of a radical, bold change. It was overly optimistic to expect such a seismic shift in a game that ignites so much passion to be received as easily as a duck takes to water.

However, to understand and appreciate that is not to say that changes do not need to be made. If VAR is to remain, the in-stadium experience must change. Fans who are used to living in the moment enjoying a game blow by blow can no longer be expected to watch and wait for minutes on end—long minutes—for those purple screens to make a game-changing decision. The scope of VAR referrals must be made completely clear. Checks should be completed in a certain timeframe, and fan communication must improve. Certainly what I enjoy about rugby is that it is possible to hear what is going on, which keeps people connected to the game and engaged in the decisions. Out of all Britain’s leagues, VAR is currently used only in the premier league—not in the championship or other leagues below. Next season there will be 17 clubs that have experienced playing under VAR and three that do not have that experience. That could be a disadvantage, considering that we already know how difficult a maiden season in the premier league can be. We in West Yorkshire hope to see Leeds United back in the premier season soon. Hopefully Huddersfield Town will join the elite soon, too.

I shall be watching with concern to see whether acclimatising to VAR will hamper the newly promoted clubs. It is only fair to say that I have had representations on this from the premier league, as I am sure others have, ahead of the debate. It helpfully points out that VAR is only 29 games into its first ever season. Stadium attendance since its introduction is tracking at a record high of 97.5%, although it is questionable whether that is about VAR or just the brilliance of the football. The league is working with the clubs on guidance with respect to stadium information for fans. I take all that on board; but the premier league is the crème de la crème of football. Children from places that we in this Chamber have never heard of go to bed dreaming of one day playing in it. Such is its success that it is beamed all over the world, and its superstars are truly global. Therefore, while I am willing to take on board the premier league’s opinions, fans are right to expect a better, more successful introduction.

In conclusion, VAR must learn to work better. It is vital for fans, future fans and the future of the game. The Labour party and, I am sure, every Member present, and Members across the House, look forward very much to premier league football, and the rest of football, getting back to their brilliant best as soon as it is safe for them to do so.