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The Eyre Report: a Summary - Part IIIThe theatres; artistic programming; management; privatisation of the ROHThe theatres need to establish a relationship with their local communities and play a "wider social, economic and civic role". There is no artistic reason why ENO, the Royal Opera and the Royal Ballet should not share the same space, but the investment of £114.4m of Lottery funding in Sadler's Wells and the ROH is a powerful argument against it. As the Covent Graden redevelopment was intended to provide a permanent home for the Royal Ballet, Eyre believes that it would be best for both the company and ballet as an art form for it to stay there. I am persuaded that disposal of the Coliseum would not release sufficiently significant sums of money either to use for a useful one-off revenue injection, or to form the basis of an endowment, which would make a significant difference to the ongoing revenue requirements of the Royal Opera House or ENO. Urgent investment in the actual fabric of the Coliseum is needed, and Eyre believes there is a strong case for a Lottery grant for this purpose. Artistic Programming The number of performances by the Royal Ballet must increase to bring ti closer to parity with the Royal Opera. It is important that greater access to the Coliseum by dance companies is achieved. He expresses concern at the high charges the Coliseum must make to other users in order to balance its books and suggests that, perhaps, there should be a two-tier system of payments: a lower one for other subsidised companies and a higher one for commercial hirers. In addition, there must be greater flexibility in working arrangements. There is also concern about the position of Sadler's Wells. It is essential, he says, that it does not become simply a repository of artistic overflow from a heterogeneous mix of companies. It has its own artistic ethos which must be supported, although it should also work in partnership with others and in a realistic context. Management The need for a common approach to issues of collective concern is very strong. I recommend the establishment of a co-ordinating group looking at common issues for lyric theatre in London, including repertoire, labour relations, flexible use of estate, and broadcasting, with a view, inter alia, to creating joint working agreements ....... It should be formed urgently, and I expect the theatres to co-operate. Failing that, participation should be a mandatory condition of public subsidy. ENO should remain based at the Coliseum, but should release significantly increased time at the Coliseum for dance (up to 15 weeks) and fully meet its obligations as a receiving house for dance, both for British and overseas companies. English National Ballet should get additional weeks at the Coliseum to fulfil its artistic objectives, and ENO should encourage a wide range of dance companies to present work for the remaining weeks. During those weeks, ENO should take a season at Sadler’s Wells for smaller-scale work, with the possibility of touring from there. The Royal Opera and Royal Ballet should remain based at Covent Garden. The commitment to parity for dance at Covent Garden should be delivered, and further opportunities sought to open up the venue to a wider range of companies and work, including through the use of the studio theatre. The Royal Opera and the Royal Ballet should both consider the scope for expanding their audience by performing at other venues, eg Sadler’s Wells. Sadler's Wells must not lose its own artistic focus, mainly on dance, although it should offer opportunity for other lyric work. All the theatres should be more flexible and adventurous in their programming, and should seek innovation and new collaborations. Privatisation of the ROH I considered some models for ‘privatisation’ of the Royal Opera House. The Met is clearly operating in a quite different financial environment, and with 65% more seats than the Royal Opera House and sole occupation of its theatre, its earning power is considerably higher. Glyndebourne operates festival seasons, and while it produces excellent art, provides limited access. Other approaches, including stock market flotation and issue of debentures also risk compromising either excellence or access. In addition, there is the Lottery award to the Royal Opera House and decades of public investment which might be relinquished should the Royal Opera House be ‘privatised’. My conclusion is that none of these ‘privatisation’ models would achieve all the aims of this Review. Index
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