§ 3. Dr. Alan Whitehead (Southampton, Test)What action she is taking to support regional theatres. [101456]
§ The Minister for Sport (Mr. Richard Caborn)As a result of the theatre review, Arts Council England invested an additional £12 million in theatre throughout England, in 2002–03. From April this year, it will increase to £25 million. I am sure that my hon. Friend will be pleased to know that an example is the Nuffield in Southampton, which has been allocated an increase in funding of about 38 per cent., or in monetary terms, £144,000.
§ Dr. WhiteheadI thank my right hon. Friend for that welcome news, especially about the funding for the Nuffield theatre, which is 350 yd from my house. Does he acknowledge the strong support that many progressive local authorities provide for the development and retention of regional theatres, and particularly Southampton city council's support for a new home for the Gantry theatre in the centre of the city, in a development that it is pursuing? Does my right hon. 5 Friend agree that his Department should liaise closely with local authorities where future funding is considered for regional theatre?
§ Mr. CabornVery much so. The increase that I have referred to following the review from 2000 to 2004 is a 72 per cent. increase in the budgets. That is the most significant single increase ever for an art form. The Gantry theatre is an example of a theatre becoming part of the synergy between the creative industries. The approach of local authorities and other partners is extremely good.
§ Mr. Peter Pike (Burnley)Does my right hon. Friend agree that as well as regional theatre we need to go down to local theatre to ensure that amateur and professional theatres, such as the Mechanics theatre in Burnley, survive? There is a link between local theatre and regional—and ultimately, national—theatre production.
§ Mr. CabornI cannot answer my hon. Friend's specific question. I know that he will write to me. The 72 per cent. increase in investment is not just about bricks and mortar, it is about children and young people, diversity and, probably more important than anything, new writers. Fifty organisations have been set up to encourage young people to become involved in writing for the theatre and, it is to be hoped, for film as well. This is a comprehensive approach to the theatre to see how it can drive into the modern arts and into the modern economy as well.