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The Eyre Report: a Summary - Part I

Objectives; the ROH and ENO; the Royal Ballet

These were the objectives given by the Secretary of State to Sir Richard Eyre when the Review was set up:

• to ensure that the UK is able to sustain the highest standards of national and international excellence in performance;
• to ensure that the distinctive artistic styles of each of the companies are protected and nurtured;
• to look for ways in which the work of these national companies can become more accessible - through touring activity, education work, broadcast opportunities or by other means;
• to ensure maximum public benefit from the use of public money. The issue is not about saving money, or cutting funding levels; it is about ensuring every pound of public funding that is invested works as hard as possible, and that its benefits flow back to as many as possible of the people who have contributed to it; and
• to secure the financial stability of the companies and give them a firmer basis on which to plan, and efficient structures within which to operate.

ENO and the ROH

The distinct characters of the two companies must be preserved, and, in particular, ENO must help develop an "indigenous tradition in opera" by developing its role as national flagship for the development and presentation of British work, while delivering accessibility to its audiences through performances in English translation of the mainly non-English canon.

Both companies must assist in the development of and perform new and experimental work at other venues, such as Sadler's Wells and the ROH studio. The ROH has been dilatory in appointing an artistic director for the studio and must do so as soon as possible. In developing the artistic vision for the studio theatre, the Royal Opera House must conduct extensive consultation with the Arts Council, potential users, audience and the local community to ensure that it enhances, rather than damages, existing provision.

The two companies are not as distinctive as they should be: their "distinctive artistic visions" should be defined much more clearly.

It is essential that the companies see themselves as a resource for the wider lyric arts sector. They must establish themselves as ‘centres of excellence’ and commit to working in new partnerships.

The Royal Ballet

The company's repertoire is not as "rich" as it should be. There must be more "significant" new work and a clear artistic vision.

The ROH must give the Royal Ballet a more equal status, which means a greater equality in performance schedules. In addition, the ROH Music Director must ensure that the orchestra works for the benefit of the Royal Ballet as much as for the Royal Opera.

Index

• Objectives - ENO and the ROH - the Royal Ballet
• Access - education - touring - broadcasting - the Internet- image
• The theatres - artistic programming - management - privatisation of the ROH
• Governance - accountability and ACE - management and structures
• Current finance - future financial stabilty

Articles Indices:

2001
2000
1999
1998
1997

©Peter Lathan 2001