Abstract
It all starts in 1979 with a General Election, the result of which has had a significance for British political, economic and cultural life only rivalled by that of the very coming to power of the Labour Party in 1945. Indeed, this comparison is particularly apt, for in both instances the assumption of power was accompanied by a conscious intent of change that would challenge the otherwise largely consensual nature of post-war government. In many ways, the programme initiated by that first Thatcher administration, and continued waywardly but insistently ever since, was based on the deconstruction of that post-1945 structure that has largely shaped, for better or worse, the subsequent state of the nation. Very little has been the same since, and the British theatre is no exception. The roots of the theatrical crisis and the direct cause of its continuing malaise must be seen as a direct result of wider government monetarist policy, as must the particular ways in which it has developed.
If you are drowning in a large municipal swimming-pool, should you question the motives of the life-saver or the kind of life jacket he throws you? Is a national lottery, which might provide a few of the many millions needed to bring the great cultural stock of theatres, museums and galleries up to standard, the answer for the arts? The news that John Major has asked the Treasury to draw up proposals for such a lottery indicates that culture is on the Government’s agenda — as a problem which it wants to dispose of in a massive national flutter. There could not be a better example of the cynicism to which we have sunk than that this device should be hailed as a panacea. ‘What is aught but as ‘tis valued?’ … The answer is that culture is valued as a commodity whose survival should be ensured not through the national conscious will but the lurch to the gamblers’ den.
(Nicholas de Jongh, 1991)2
Parts of this chapter are based on my ‘Left to Right: English Theatre in the 1980s’, Englisch Amerikanische Studien. Zeitschrift für Untererricht, Wissenschaft & Politik, 3 (April 1986), 401–10, and on a lecture given at Loughborough University the same year.
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Notes
Nicholas de Jongh, ‘Welcome to the Culture Casino’, Guardian, 12 February 1991.
Michael Billington, ‘The arts in the eighties’, Guardian, 28 December 1985.
Economists’ Advisory Group, Overseas Earnings of the Arts 1988–9, produced for the British Invisibles’ Cultural Sector Working Party (HMSO, 1991).
John Vidal, ‘The selection of the fittest’, Guardian, 7 April 1988;
cf. also Michael Billington, ‘Cash and Carrie’, Guardian, 4 July 1988.
Sheridan Morley, ‘Tills are alive to the sound of music’, The Times, 12 April 1986.
Michael Church, ‘A song in their heart’, Independent on Sunday, 7 October 1990.
John Bull, New British Political Dramatists (Mamillan, 1984, 3rd edition 1991), p. 25.
Quoted in Sheridan Morley, ‘The man behind the Lyttelton’s new play’, The Times, 10 July 1976.
Clive Barker, ‘From Fringe to Alternative Theatre’, Zeitschrift fur Anglistick und Amerikanistick, 26, no. 1 (Wilhelm Peck University, Rostock, 1978), 62.
Quoted in Vera Lustig, ‘Look Back in Anger?’, Plays and Players (April 1991).
Cf. David Edgar, ‘Political Theatre, Part I and II’, Socialist Review, 1 April and 2 May 1978.
For a scathing critique of the activities of the Arts Council from a very different perspective to mine see Brian Appleyard, The Culture Club: Crisis in the Arts (Faber, 1984).
Michael Billington, ‘Something rotten in the state’, Guardian, 25 March 1992.
Paul Tyler, ‘Art for art’s sake’, The Independent, 22 October 1988.
Michael Billington, ‘Serious money’, Guardian, 29 December 1987.
Martin Hoyle, ‘Combing the Fringe’, Plays and Players (January 1985), 50.
Robert Hewison, ‘Caution keeps creativity in the wings’, Sunday Times, 9 October 1988.
Nicholas de Jongh, ‘Courtship across the Atlantic’, Guardian, 20 February 1985.
Anthony Howard, ‘Rolling up the map of broadcasting’, The Independent, 9 December 1989.
Nicholas de Jongh, ‘Cash that eases the pain’, Guardian, 5 October 1985.
The estimates are those of Frank Rich, drama critic of The New York Times, quoted in Michael Billington, ‘A crisis up west’, Guardian, 20 June 1987.
Michael Billington, Guardian, 2 November 1990.
David Edgar, ‘Why pay’s the thing’, Guardian, 28 June 1985.
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© 1994 John Bull
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Bull, J. (1994). The Gamblers’ Den. In: Stage Right. Palgrave, London. https://doi.org/10.1007/978-1-349-23379-3_2
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