“Hey, let’s put on a show!”
Call me old-fashioned but nothing fills my heart with more theatrical gusto than Sir Cliff’s famous Summer Holiday quip, a gang of enthusiastic actors, a willing crew and the whiff of a good idea. Luckily, each summer Britain welcomes actors, writers, directors, musicians, performance artists and theatre groups large and small, amateur and professional to take part in its many eisteddfodau, showcases, competitions and festivals. The British & International Federation of Festivals for Music, Dance & Speech has 300 affiliated events throughout the UK and Ireland including associations in Australia, Canada, Hong Kong, New Zealand, Sri Lanka and Zambia. The National Drama Festivals Association has 50 members who organise 18 full-length and 44 one-act festivals each year including the ‘All Winners’ week, which showcases the very best of the circuit. Then there’s the world famous Edinburgh Fringe Festival, Northern Ireland’s prestigious Belfast Festival and Wales’ mammoth National Eisteddfod – so there’s plenty of choice.
Wales’ National Eisteddfod kicked off the competitive arts culture back in 1176 when Lord Rhys invited poets and musicians to gather at his castle in Cardigan and compete for a chair at his table; a tradition that continues on today. Typically Welsh, this festival has ventured across the Severn on a few occasions, gracing Liverpool in 1884, 1900 and 1929, London in 1887 and Birkenhead in 1917. The National Eisteddfod of Wales has taken place every year from 1881 with the exception of 1914 and 1940. But just how have these historic events shaped the arts scene we live in today – and really, after all this time, do they have anything more to give?
The British Council believes its 2005 Edinburgh Showcase, a biennial platform of UK drama for an audience of leading international promoters “will generate a total of 110 weeks’ international touring for UK artists, creating a revenue of over £1m for the UK theatre industry” based on previous years’ results. Two of the shows featured have already secured international interest with tours to Sri Lanka, Kosovo, Macedonia and a commercial off-Broadway run. Sally Cowling, Director of Drama & Dance at the British Council says, “Since our first Edinburgh Showcase in 1997, we have brought together 200 UK theatre companies and over one thousand international promoters. We’re delighted that the showcase is continuing to find opportunities for British artists to exchange creative influences and ideas with new audiences all over the world. With so many experiences today becoming virtual, it’s increasingly valuable for us to connect with the intense, personal, very local experiences you can get from theatre.”
And taking theatre to the people is a worthy side effect these events bring. Dr Luke Dixon, Artistic Director of Theatre Nomad comments “small festivals are the life-blood of creativity in the arts, giving opportunities for a wide range of work outside the constraints of normal venue programming. They also draw on audience who might not otherwise see performance.” Not only do they provide opportunity to the forgotten audience, but also to the undiscovered players.
The festival and competition culture plays a major part in encouraging children and amateur performers to take to the stage and play in front of an audience. Ann Hunt, General Secretary of Bristol Eisteddfod Association (Bristol Festival of Music, Speech & Drama) says, “Children often begin at the smaller festivals and go on to compete in the larger ones. Many go on to greater things in the arts.”
However, the eisteddfod culture, like most areas of the arts has had its share of financial hardship. Wales’ National Eisteddfod faced near-cancellation in 2003 due to a funding crisis, and Northern Ireland’s Belfast Festival expects a loss of £150,000 this year despite a 40% increase in box-office takings since 2005. The smaller festivals also feel the pinch. Ann Hunt says “the cost of adjudicators in the largest expense of any festival and unlike many in the area and around the country, we do not get any financial support or other help from the local council so have to rely on entries and sponsors to cover the costs.” Sarah Desmond, who took her one-woman musical comedy Playing With Myself to the Fringe, did not quite break even despite selling out on 2 nights. “We made around £900, and the venue cost £1200,” she says.
However, despite the financial shortfalls the event organisers and performers will not be deterred. Emma Finlay, an actor, writer and singer still believes “festivals are the best way of promoting yourself and your work, particularly if it’s original. Producers are more likely to head to an event where they know they can see many performances in a few days rather than trudge about London looking for new talent.” Sarah Desmond agrees “I loved the atmosphere of the festival, the challenge of the show and I have two potential sponsors who want to help me take Playing With Myself to the States.”
So it seems the old eisteddfod tradition brings a great deal of new opportunity to the UK arts industry; developing international links, educating audiences, nurturing talent and supporting creative diversity. Hopefully that will be enough to keep us close to home next summer.
