Globe Theatre Project

HC Deb 19 July 1993 vol 229 cc168-76

Motion made, and Question proposed, That this House do now adjourn.—[Mr. MacKay.]

12.51 pm

Mr. Robert Banks (Harrogate)

I am most grateful for this opportunity to draw attention to an important international project of immense significance not only to London and Southwark but everyone who is interested in the works of the greatest English playwright, William Shakespeare. I am delighted to see that the hon. Member for Southwark and Bermondsey (Mr. Hughes) is in his seat tonight. He has taken a keen interest in this project and, of course, has tabled many questions about it.

The area on the southern bank of the Thames known as Bankside was once the liveliest and most entertaining place in the kingdom. Elizabethan Londoners thronged to this notoriously boisterous stretch of the Thames around the southern approach to London bridge, making for its bull and bear-baiting rings, cockfighting pits, hostelries and brothels. But the most popular attraction were Bankside's four theatres, the Rose, the Swan, the Hope and—the most successful of all—the Globe.

The Globe was built in 1598 to a roughly circular design of 20 bays around the stage. A thatched roof lay over the bays around the perimeter of the theatre and the central area, where it cost a penny to stand and watch a play, was open to the sky. The bays stood three floors high and were made of oak frames coated in lime plaster. Londoners of all callings and occupations frequented Bankside's great theatres. After all, this was the cradle of perhaps the most exciting and important period of English drama.

Although, in many people's minds, William Shakespeare is firmly associated with Stratford upon Avon, he chose to live and work at Bankside for the most creative years of his life. He chose the Globe as the venue for performances of his masterpieces, and it was there that "Hamlet", "King Lear", "Othello" and the Scottish play was first enacted.

During a performance of Henry VIII in 1613, the Globe burned down, set ablaze by a spark from the stage cannon. It was rebuilt on its original foundations, but in 1642 the Puritans forced its closure, together with the other attractions at Bankside of which they disapproved so strongly. Two years later, the Globe was torn down to make way for new tenements in the area, and the character of Bankside quickly changed, becoming duller as the memory of its glorious, if sometimes notorious, attractions faded.

Since then, the South Bank has seen many changes. In places, the area's theatrical tradition has been revived, with the restoration of the Old Vic and opening of the National Theatre, but not at Bankside, where the world's most famous playwright lived and his greatest plays were first performed. More than three centuries later, Shakespeare's work is cherished for incomparable insight, wit and drama, not only by English-speaking peoples but throughout the world.

Nothing of significance marked Bankside's unique and colourful history until Mr. Sam Wanamaker, the American film actor and director, was inspired by his love and knowledge of Shakespearean theatre to end this sorry neglect. Visiting the 1934 international world fair at Chicago, Mr. Wanamaker was much impressed by Britain's contribution of a mock Globe theatre. Since then, he has seen the success that mock Globes have had across the United States and in many other countries.

As a dramatist and trained actor, he understands particularly well that the beauty and artistry in Shakespeare's language is most clearly expressed when his plays are performed in authentic fashion and in the relatively unadorned setting for which the great bard intended them. Driven by his passion for Shakespeare, Mr. Wanamaker came to London in 1949 searching for evidence of the original Globe. Astonished and indignant at finding only a blackened plaque on a brewery wall to mark the spot, Mr. Wanamaker was convinced that the Globe should be reconstructed at Bankside.

In 1970, the Globe Playhouse Trust was formed. Soon after, a small museum and theatre were built at Bankside's Bear gardens. The museum exhibits many unusual items of theatrical interest, including several intricate models of the Globe and other open-air theatres of its time. Thousands of schoolchildren from across the country and abroad have visited the small theatre connected to the museum to take part in its wonderfully enjoyable drama workshops and productions.

It was not until 1982, after a pioneering struggle to raise support for the Globe project, that a 125-year lease was signed with Southwark borough council for a riverside site opposite St. Paul's cathedral. The site had been a bear-baiting pit during the 16th century, and the foundations of the original Globe lie only 200 yd south of the Bear gardens beyond a block of offices. Those foundations and the foundations of the Rose theatre were unearthed in 1989. The original Globe is now largely covered by listed Georgian buildings, so it cannot be further excavated.

After years of planning and fund raising, the project to build the most authentic Globe theatre in the world was ready to commence. I say the most authentic, not only because of its location but because of the extent to which authentic materials and craftsmanship would be used and the depth of historical research that went into the new Globe's design were unprecedented.

When part of the original Globe's foundations were uncovered, the project's architects were able to improve significantly on the previous best guesses as to the construction and appearance of the Globe. The theatre is to be the focal point of the much more extensive Globe centre. The centre will incorporate a large museum and exhibition. with an audio-visual achive and library. These, together with the Globe education centre, will offer visitors a unique chance to learn about Shakespeare, his plays and his times.

A grand piazza is to be surrounded by shops, flats and restaurants. The centre will also boast the !nig° Jones theatre, built to the great architect's elegant design. It will be used to stage plays by Shakespeare and his contemporaries, and for concerts, poetry readings, lectures and recitals. With these plans, the Globe centre is set to become a cultural, educational and recreational attraction of international importance.

The project also offers significant commercial opportunities which private business will be keen to develop. However, before work could start, Mr. Wanamaker and the Globe trust had to contend with the destructive opposition of a newly installed extreme left Labour council at Southwark: 340 years alter the puritans had forced Bankside's theatres to close, the ideologues of Southwark borough council claimed that the Globe project and even the study of Shakespeare were elitist. They tried to tear up the Bear gardens lease.

Thankfully, after four frustrating years of battle, the site was won back for the Globe, when Southwark borough council realised that it could not hope to defend its actions succcessfully in a court of law. Prince Philip presided over the Globe's ground-breaking ceremony in 1987, and construction began in earnest in 1989. Since then, a great deal has been achieved.

A major cost of the project was the construction of massive foundations 6 in deep to cope with a tidal river. Those foundations, and the shell of a vast subterranean Globe museum and exhibition, are now complete.

May I offer my warmest appreciation to those members of the general public and companies and others whose generosity has enabled the project to progress so far? I pay a special tribute to Mrs. Elizabeth Tompkins, widow of the late Richard Tompkins, who donated £250,000 for the construction of the Globe's stage, which is to be named after her late husband. Many companies, including Reuter's and Glaxo, have provided sponsorship and materials at greatly reduced prices. Others have given their expert advice free of charge. Donations in cash and kind have come in from the Governments of New Zealand, Denmark, Canada, Japan and the state of Bremen in Germany, demonstrating the great international interest in the project.

Unfortunately, no public body exists at present with responsibility for helping to fund theatre building. The Globe theatre project may be able to apply to the Millenium fund for financial assistance, but not for some years to come. Meanwhile, construction of the theatre remains dependent on donations and sponsorship. His Royal Highness the Duke of Edinburgh has donated oaks from Great Windsor park to build the Globe's bays and tiered seating. Timber was also given by the Forestry Commission from the New Forest and the forest of Dean. More English oak is desperately needed, and I hope that the Government will be able to inspire and encourage the Forestry Commission and other landowning public bodies to supply the oak still needed to complete the Globe.

There is also a shortfall of steel. British Steel made a contribution, and Marais Steel of California donated 100 tonnes of reinforced steel. But 250 tonnes more are required to finish the project, and I hope that British Steel can be encouraged to step in with a further contribution.

The Globe offers many opportunities to Southwark, London and the whole country. The centre is set to become one of London's foremost tourist attractions and, as such, will bring large numbers of new jobs to Southwark.

The English tourist board estimates that, once completed, the Globe will be visited by more than 600,000 people each year—many, no doubt, from Yorkshire. With typical confidence, Sam Wanamaker predicts a figure closer to a million. What is certain is that shops, pubs and restaurants in Southwark will all benefit enormously from an influx of high-spending visitors.

The Globe centre itself will become a significant long-term employer for the area, with staff needed in its shops, restaurants, theatres and at the education centre, museum and exhibition. As I said earlier, not only is the Globe centre a great cultural project: it also offers important opportunities to private business.

At present, Bankside is dominated by office blocks and derelict warehouses and, as a result, the area is virtually deserted after office hours and at weekends. The Globe centre brings new recreational and educational facilities, new trading and employment opportunities and is helping to revive some of the bustling vitality that Bankside enjoyed in the days of the original Globe.

The Globe project has received all sorts of terrific support, but, alas, it has not escaped the economic difficulties of recent times. Authentic materials and building techniques are no less than this project deserves, but they are also very costly. For example, the bricks laid at the base of the theatre are the same shape and size as those of the original Globe, and have to be specially fired. Despite the brickmaker's generosity in halving the price he would charge. these special bricks still cost four times as much as standard bricks. Thatching and lime plastering, which can only be done during the summer months, are similarly expensive.

Some £7.5 million has been raised and spent so far, to lay down the Globe's foundations. Another £2.5 million is needed to complete the Globe theatre's reconstruction. Now that the theatre itself is rising, the private sector will have a sound opportunity to participate in building the surrounding restaurants, shops and flats, to complete the project, designed by Theo Crosby of Pentagram Design.

The bulk of the money needed to finish the centre will continue to come from donors, sponsors and the private sector. However, I hope that my hon. Friend the Under-Secretary of State shares my high opinion of the Globe's merits, and that he will look very carefully into the ways in which the Government could make a significant contribution, in cash or materials, to help boost the Globe project through to completion.

Then, despite fire, closure, destruction, and three centuries of neglect, the Globe will once again stand at Bankside, thanks to the inspiration, exceptional efforts and dogged determination of one man, Sam Wanamaker. Perhaps I hear Pericles in the wings: Now do I long to hear who to thank Besides the gods, for this great miracle".

1.4 am

Mr. Simon Hughes (Southwark and Bermondsey)

I do not know whether the hon. Member for Harrogate (Mr. Banks) realises that tonight's debate is particularly timely because this is the eve of the first South Thames festival. but we are in any case grateful to him for using this opportunity to draw attention to the case for completing the reconstruction of the Globe theatre, which is situated in one of the most historic parts of our capital city, which it is my great privilege to represent.

The hon. Gentleman was kind enough to say—I thank him for it—that I, like many other hon. Members, have throughout been highly supportive of the Globe project. and wish it a speedy completion. I join the hon. Gentleman in paying tribute to all those who have sought to achieve Sam Wanamaker's dream. Sam Wanamaker has been involved for longer than my lifetime, and there have been many others—most recently Sir David Orr, who was for many years the chairman and key promoter of the fund-raising project.

Let me correct what may have been an unintended misrepresentation on the hon. Gentleman's part. Whatever the earlier history. it is certainly now the case that all three political parties on Southwark council—the majority Labour group of 34 councillors, the Liberal Democrat opposition group of 22 councillors and the third-party Conservative group of six councillors—all support the project. The project is thus entirely endorsed by the representatives of the local community, including the local councillors who represent the cathedral ward of the borough; indeed, the borough has made the area a regeneration area, creating a particular partnership between the local authority, the private sector and the local community.

I should add that there is a resident local community; we are not talking only about offices and open space. The rebuilt Globe site is also on the river, and the Countryside Commission has just completed a further stretch of the Thames path.

Perhaps the case for the Globe is best made if the House and the country appreciate the importance of Bankside as a whole: it embodies Shakespeare's England in all its glory —best if it can be enjoyed in the future as it was in the past.

May I say to the Minister and through him to his ministerial colleagues that his Department and others can help if they consider all that can be done for the area. So much could he done if the Government gave the area their full support. We could have the money to complete the Jubilee line extention and other public transport access, making the area much more accessible; we could have highly imaginative development of the Bankside power station site when that comes on the market next year; and we could have the continuing support of—and, it is to be hoped, the anticipated finance from —English Heritage, to ensure that the adjacent Rose theatre site, of which I am a director and trustee, is brought back to the public view.

I hope that the Globe will rise again very soon, and I hope that the Government will be very supportive of all that will bring Bankside back to its previously resplendent place on the London riverside.

1.7 am

The Parliamentary Under-Secretary of State for National Heritage (Mr. Iain Sproat)

I congratulate my hon. Friend the Member for Harrogate (Mr. Banks) on his good fortune in securing this evening's debate and on the erudite way in which he has presented the case for the replica of the Globe theatre that is at present being constructed in Southwark. I also congratulate the hon. Member for Southwark and Bermondsey (Mr. Hughes) on his assiduous support of this and related projects.

I have heard much about this ambitious undertaking, and I look forward to meeting Mr. Wanamaker and his colleagues in September. I know that the proponents of the scheme—most notably Mr. Wanamaker—have been tireless in their efforts on its behalf. Successive Arts Ministers—including, as recently as February this year, my hon. Friend the Member for Salisbury (Mr. Key). now Minister for Roads and Traffic, have considered with the greatest care the not infrequent requests that have been made for a Government contribution towards meeting the costs of the project. On each occasion, the Government have warmly endorsed the efforts of Mr. Wanamaker and his distinguished colleagues, but have been unable to provide the financial support that they have been seeking.

Having listened intently to what my hon. Friend has said this evening, I have to tell him that I have not yet been persuaded of the need for any change in that response. None the less. I very much welcome the opportunity to explain to the House the Government's position on the Globe project, in wider context of our support for those who uphold and build upon our matchless Shakespearian heritage.

Before doing so, I should like to congratulate Mr. Wanamaker on his appointment by Her Majesty the Queen as an honourary Commader of the British Empire. By a happy coincidence, the award was annouced earlier today. It was made in recognition of Mr. Wanamaker's remarkable contribution to relations between Britain and the United States of America, and all that he has done on behalf of the Globe.

Mr. Wanamaker has achieved distinction as an actor, director and producer, in films, television and the theatre, both here and in the United States. He has made a significant contribution to the cultural life of both countries and, in so doing, has strengthened the links between them. His award is well deserved, and will give much pleasure to many people on boths sides of the Atlantic.

I also greatly admire Mr. Wanamaker's commitment to the Globe project. He has long stalked the corridors of Whitehall seeking Government support for the scheme. He must therefore have viewed the advent of the Department of National Heritage with renewed hope. For the first time, policy responsible for the two areas that are most closely associated with the Globe project—the arts and tourism—have been combined within the remit of a single Department. The connection between the two is self-evident; it is, indeed, a primary aim of the Department to seek out ways of utilising and enhancing the links as a means of developing coherent policies that add value to both the arts and tourism. That is one of the new—and, to my mind, without doubt the most far-reaching—of the changes that have taken place.

But there is also an important element of continuity. Day-to-day responsibility for programmes, for which the Department is accountable, remains the preserve of a wide range of specialist agencies. In practice, that means that all but a very small proportion of the Department's budget of £1 billion or so is distributed through those sponsored bodies.

It is for that reason that the Department and its predecessor Departments have consistently held the view that any hid for support for the Globe project must be addressed to those bodies within the arts funding system, and by the tourist authorities, which have a direct interest. These bodies are clearly best placed to assess the priority that might be accorded to such an application, within the framework of their own policies and plans and the resources that have been made available to them.

Wholly exceptionally, the Government have made funding directly available, within these areas, for projects that are indisputably of outstanding national significance, such as the new British library at St. Pancras. Another example is the special grant that was made to secure a permanent home for one of our great opera companies. I must tell my hon. Friend that I share the view of successive Ministers that the Globe project does not fall within that category. That conclusion is heightened by the overriding need to exert the firmest controls on public spending.

As my hon. Friend will know, approaches on behalf of the Globe project have been made to a range of bodies funded by central Government. In February 1989, the English tourist board offered the Shakespeare Globe centre a grant of £200,000. The money was to have contributed towards the cost of constructing and fitting out an exhibition centre, and the substructure of the Globe and Inigo Jones theatres.

The grant was awarded on condition that those elements of the project were completed by June 1991; however, by January 1992 the work had yet to begin, and —as it was obliged to do—the English tourist board withdrew the offer. I know that that must have been extremely disappointing for the Globe. I fear that it will not be possible to return to that potential source of funding, because that English tourist board scheme has now come to an end.

I know that Mr. Wanamaker and his colleagues have for some time been engaged in discussions with the Arts Council and the London Arts Board. Neither body is in the business of making capital grants, but both have welcomed the opportunity to know more of the Globe's plans for the productions that will be mounted there, and for the kind of educational work in which it will be engaged.

I am advised that the Arts Council's drama department would certainly be prepared to consider any proposal related to the use of the Globe that Mr. Wanamaker might wish to put forward—subject, it must be said, to the usual grant application criteria, and to available funding. Similarly, the London Arts Board has had a number of meetings with representatives of the Globe. Clive Priestley, its chairman, met Sam Wanamaker about a year ago; and, more recently, officers of the Globe have met the London Arts Board's drama team.

I understand that, at present, it is unlikely that the Globe could be offered revenue funding, but that project funding, through drama or education, would of course be considered. The Globe representatives have been encouraged to talk to the board's education team about Shakespeare in the national curriculum.

Mr. D. N. Campbell-Savours (Workington)

Is there any truth behind the stories in the weekend press that the. Government are seeking to restore to themselves the right to pay grants to such organisations, as against leaving that funding to the existing responsible bodies?

Mr. Sproat

I feel sure that, if anyone would know the answer to that question, it would be me, and I have heard no such rumours other than those that I read in the press.

The national lottery might offer more hope to my hon. Friend the Member for Harrogate. It is at the forefront of the minds of many people with ambitions for capital projects like that of the Globe theatre. The most important thing about the national lottery is that it will not be a substitute for the £1 billion-worth of public expenditure of the Department. All the money that is made available from the proceeds of the lottery will be a bonus to the Department's existing public expenditure. New capital projects will be able to get off the ground where. previously, no money was available.

The hon. Member for Workington (Mr. Campbell-Savours) will be keen to know, however, that the Department's role in deciding the beneficiaries of the national lottery will be akin to its role in the present funding structure. When it comes to individual funding decisions, it will maintain its arm's-length role.

We have said, however, that there will be a presumption towards those capital projects where it is hoped that revenue cost support would be found from other sources, particularly from the private or voluntary sectors. Projects with clear plans for revenue costs would be favourably placed to be considered for lottery funds.

I am wholly at one with my hon. Friend, and indeed with His Royal Highness the Prince of Wales, in acknowledging the absolutely central place of Shakespeare within the cultural heritage of this country; and, of course, there can be no doubt of the universal prominence and significance of our greatest playwright and poet. The Globe project is dedicated to the study, appreciation and excellence in the performance of Shakespeare's plays. I strongly endorse those aims; and I equally strongly endorse the idea that everything possible should be done to safeguard and enjoy our Shakespearean inheritance.

The Government, through the Arts Council, play a major part—one might say the major part—in ensuring that performances of the plays continue to be available by companies large and small, in all parts of the country. The superb work of the Royal Shakespeare Company, and the Royal National Theatre, attracts large audiences in London, and, in the case of the RSC, also in Stratford. But it is worth noting that, with its grant from the Government, the Arts Council is able to support a number of tours of Shakespeare's plays, as well as productions at the great regional theatres.

With the support of the drama and touring departments of the Arts Council, in the past 18 months in this country, 55 companies put on 74 productions of 25 of William Shakespeare's plays—proof indeed of the value of this marvellous inheritance. There are also highly praised productions in the commercial theatre of the west end. At this present moment, "Much Ado About Nothing" is playing at the Queen's theatre, and "Romeo and Juliet" is being performed at the Open Air theatre in Regent's park.

William Shakespeare's importance as our greatest writer is reinforced by his unique position in the national curriculum. With the introduction of that curriculum, study of the work of Shakespeare, for the first time in this country, became compulsory for all pupils as part of English studies at key stages 3 and 4—that is, pupils between the ages of 11 and 16. Shakespeare is the only author in the English language whose work is an essential part of the national curriculum—study of the work of any other author is discretionary.

The Government have therefore led the way, directly and indirectly, in encouraging both the performance and the study of the works of Shakespeare. The reconstructed Globe would be a welcome addition to this already very lively and expanding scene.

Mr. Robert Banks

I am delighted to hear of my hon. Friend's commitment to Shakespeare, but would he be kind enough to go to see the project for himself, because he is so near? I know that that would be a great joy to those who are working so hard on it.

Mr. Sproat

I can give my hon. Friend that assurance. If he wants to pursue that matter with me in more detail later on, I would be happy to meet him.

On behalf of the Government, I commend again the outstanding and prodigious efforts of Sam Wanamaker and his fellow trustees. I wish them well in meeting the challenges that remain, and in completing the daunting tasks that they have set themselves. My right hon. Friend the Secretary of State and I stand ready to continue to offer what help we can.

Question put and agreed to.

Adjourned accordingly at nineteen minutes past One o'clock.