Dáil Éireann Debate, Thursday - 21 February 2019
6. Deputy Niamh Smyth asked the Minister for Culture, Heritage and the Gaeltacht if pathways by which additional funding could be provided for productions by independent companies in the national theatre on the condition that there would be increased remuneration for artists will be examined. [8699/19]
View answerAt the heart of the recent issues at the Abbey Theatre has been a growing concern about the differential between those who work for independent production companies and those who work directly for the Abbey. The differential would be addressed by closing the gap. I understand that the content of independent productions is of equal but separate concern, and it should be addressed separately.. For those who work in the sector, closing the gap would make a major difference. Have actions been taken to examine the differential and mechanisms by which it could be closed?
I am aware of the issues referred to in the question and continuing to deliver additional supports to the arts and culture sector in line with Government commitments, as evidenced by budget 2019.
Primary support for the arts is delivered through the Arts Council, the funding for which has increased in recent years. I was very pleased to be in a position to increase funding for it to €75 million in 2019, an increase of €6.8 million, which is equivalent to an increase of 10% on the figure for 2018. I understand the council recently announced the level of its 2019 funding for the Abbey Theatre to enable it to undertake an extensive programme of work for audiences, both in its home theatre and on tour. The council will also support the development and presentation of new work in co-productions with some of the most exciting theatre artists making work in Ireland today. Separately, the council continues to invest in established theatre producing organisations such as the Gate Theatre, the Druid Theatre Company and Rough Magic, as well as companies which are presenting new work to audiences in new ways such as ANU, Broken Talkers and Thisispopbaby.
The Arts Council which is independent in its funding decisions under the Arts Act 2003 operates within a published ten-year strategic framework entitled, Making Great Art Work. The strategy prioritises support for artists throughout their careers by the involvement of many agencies in cultural provision, the impact of the arts on the creative economy and the depth and breadth of people's engagement with the arts. In the area of artist support the council now includes as an assessment criterion an organisation's policy on the remuneration of artists. It aims to ensure organisations in receipt of Arts Council funding will offer fair and equitable remuneration to artists.
As Minister for Culture, Heritage and the Gaeltacht, I have responsibility for setting the overall vision and strategic direction of Ireland's cultural sector. In the first instance, issues raised by theatre practitioners should be resolved by dialogue between the theatre chair and board, directors and the theatre practitioners. I am pleased to report that this dialogue is taking place between the parties, including, I understand, on the legal and commercial issues surrounding remuneration for artists.
I take on board the fact that the Arts Council funds independent companies, etc., but the differential between what artists are by independent theatre companies and by the Abbey Theatre has been a major part of the current problems at the Abbey Theatre. The Minister did not address that issue in the first part of her response, although perhaps she might do so in further replies.
The Arts Council will, of course, have a pivotal role to play in terms of the future of the Abbey Theatre in the light of the decision to restrict funding. The response to the issue in hand is punitive and there may be an opportunity to introduce a co-operative element. Independent productions are vital to the long-term success of Irish theatre. We risk being in a position where too much focus will be placed on the Abbey Theatre, with other sources of talent potentially being left behind in the rush to protect the national theatre. The Abbey Theatre's letter stated the national theatre reducing its production output would mean that there would be less diversity, but the opposite is also true. Removing opportunities to access the national theatre, where appropriate, could also represent a loss. What mechanisms are being considered to improve remuneration for those who work in independent productions?
Ultimately, the matters raised by the Deputy in the main are issues theatre practitioners had with the Abbey Theatre. I can inform her that a meeting took place between representatives of theatre practitioners and the Abbey Theatre on 1 February. I am pleased to report the meeting was described by both parties as positive and a productive first step. They have agreed to continue the process of having bilateral meetings to deal with the matters raised by the theatre practitioners, to some of which the Deputy alluded. They have agreed to provide a progress report for the Arts Council and my Department. It should be noted the council has been engaging with the Abbey Theatre in recent months on the employment opportunities and remuneration rates it provides for Irish-based artists. The Abbey Theatre has made it clear that it pays the actors it employs the terms and conditions agreed with Irish Equity, the actors' union. In presentation or association arrangements it does not set rates of pay. That has been the prerogative of the producing companies. The Abbey theatre has stated the matter will be reviewed in the dialogue with theatre practitioners.
I agree that a co-operative approach is the most appropriate. I appreciate that in the initial meetings the response appeared to be positive. However, there is a question about the supports in place for independent productions. As a result, there has been a reduction of 54% in the number of actors appearing on stage who are directly employed by the national theatre. The reduction in pay can be as much as 25%. As there is a matter to be addressed, will the Minister expand on what her approach will be in dealing with the disparity?
With respect, the dialogue between the Abbey Theatre and theatre practitioners will continue until the end of April and the issues will need to be worked out between them. As I stated, I acknowledge the necessity for the national theatre to have a degree of artistic freedom in its programming, as all theatres should, but I also recognise the necessity for a strong working relationship with theatre practitioners. This is vital for the continued success of theatre in this country. I am very supportive of the collective endeavours of theatre practitioners and the Abbey Theatre to resolve the matters raised. I welcome the commitment they have given to participate in dialogue and engagement. I look forward to there being a mutually satisfactory outcome.
