AT THE SWAN THE CURTAIN FALLS ON THEATRE

It's culture closedown time in Worcester, where despite a resolute campaign against the local council's decision to cut funding the Swan repertory theatre is shutting up shop, boarding up the boards and letting go its lease.Worcester, only an hour from Stratford, birthplace of the 'Swan-of-Avon' William Shakespeare, and itself birthplace of England's great composer Edward Elgar; a city that's one-third home to the historic Three Choirs Festival and which has a centre dominated by its great historic cathedral, can no longer afford to provide citizens and visitors with professional producing theatre.

Last autumn, the City Council suddenly announced a withdrawal of almost two-thirds of the Swan's local authority funding. The Swan's Board of Directors decided that, unless it was reversed, this decision would mean the theatre could no longer go on trading. They argued their case; 13,000 people signed a petition. But the closure's going ahead: and there are no long-term plans to develop alternative theatre provision (the Swan has regularly run professional and amateur seasons) for the city.

It seems problems in balancing the books council-wide has led to the decision which ironically comes only a few years after the City saved the Swan when West Midland Arts' funding threatened to dry up.

What's in a name? There's been a Swan Theatre in England almost as long as there have been purpose-built theatres at all. The first was built in London in the 16th century shortly after the Rose, whose remains can still be seen close to the recently-constructed Shakespeare's Globe. And The Royal Shakespeare Company's Swan Theatre in Stratford-upon-Avon is an acknowledged masterpiece among theatres.

Which Worcester's Swan certainly isn't. It's more in the 'tradition' of 1960s-type theatres: slightly scuffed and shabby, put together with enthusiasm rather than style but very much growing out of a community's soul and goodwill.

Chester's Gateway is similar never even planned as a theatre, but built in an age when it seems theatre just had to happen. It, too, is due to close, but unlike Worcester the plan is for a new theatre within a major new arts-complex, more suited to the new century. These earlier buildings came out of a still post-war sense of reconstruction, of civic adventure. They're being remodelled, or rebuilt, in an age of increased style and sophistication.

But not in Worcester, where the theatre's never been proclaimed across the city. It stands in a side-road off the city centre, edging on a car-park. Yet there are worse-sited theatres. Chester's is approached only by a long stairway or through a shopping centre (deserted by night), Leicester Haymarket is nicely central but built one floor up within another shopping centre (it has an impending rebuild too).

Worst of all is Derby Playhouse, fronting onto the inside of yes, a shopping precinct - which, matinees apart, is a friendless and deserted environment. Its link to the huge car-park is a dank stairway (or from the upper level an external spiral staircase perilous on icy nights). Still, no-one's claiming the 1960s as a vintage period of town-planning.

Yet Derby and Leicester thrive. Is it because of more inspired management, direction and repertoire? Or because of support from more arts-conscious councils? If this, are the councils arts aware? Or is there a sense their theatres contribute significantly to the community?

Looking over the theatres that have either shut-down, or ceased to mount their own productions, in the last 15 years there's a surprising link. Cheltenham (Everyman), Leatherhead (Thorndike), Farnham (Redgrave), Chester (Gateway) and now Worcester: all are places which have a sense of affluence. Only Chester is in the north, which has seen the harshest economic blasts of the last two decades and Chester, like Cheltenham and Worcester, is a tourist centre with an historic and it might be hoped cultured flavour.

That could be the case in Cheshire, with its new arts plans. Cheltenham too continues to have a theatrical presence, if not producing its own work. The others are gone, despite in Leatherhead's case a commercial management's brave attempts to keep it open.

Most symbolic is Farnham. Not only because its theatre, like Worcester's, had a theatrically resonant name. Michael, Corin, Vanessa, Gemma and others: 'Redgrave' is a major player in British theatre. But also because the theatre shut up shop while its MP was Tory arts minister.

True, Liverpool's producing theatres the Everyman and Playhouse barely produce one full season between them, when once there were two. And Liverpool is a northern industrial city with all the problems par excellence.

But the message seems clear: no assumptions can be made; no city is safe when it comes to the 'soft option' of culture cuts. Local authorities face massive demands on limited resources, and frequent inspections of their services (though these are unlikely to focus on cultural provision).

Theatres will need increasingly to survive by the excellence of their work, building a local base of support and helping to attract a national profile to their home towns. It may be significant that the closing-down statement by the Swan's Board mentions local activity in the theatres support, but no national clamour.

Relying on being perceived as a 'good thing' is no longer an assumption theatre can safely make. It has to show high-quality, high-profile work. A few major cities may still have the pride and resources to support. But, sadly or not, theatre's now part of the glitz-biz that's modern lifestyle consciousness. Too many theatres, with their greying audiences, still need to plug in to the new world in comfort, in services, in manner of welcome.

This doesn't have to mean bouncers on the door, pounding music and flashing lights. But, if there ever was, there's no longer a safe haven for the arts. When the city Fathers (and Mothers) take a break from air-conditioned council business, they need to breathe in the street-air a sense their theatre's plugged in to the whole of local life.

Timothy Ramsden

2003-01-08 23:23:43