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Canon – and on and on
The Abbey, Ireland’s National Theatre was established in 1904 and became the first State-subsidised theatre in the world, and ultimately one of the best brands in world theatre. Worthy, certainly; old, yes: the question is more whether it is any good, or any good bearing in mind the resources that go into it. The Abbey suffers from structural problems – physical, artistic and organisational. Director/CEO Senator Fiach MacConghail is a consummate arts-administrator-politician with uniquely strong links to Labour, Fine Gael and Fianna Fáil. He has streamlined the board, steadied the finances and avoided the once-vaunted Dermot-Desmond-driven mistake of moving from its historic home to Docklands. In 2012 it cleverly purchased buildings adjacent to its current home at 15-17 Eden Quay, for €1,500,000 involving a mortgage of €1,125,000. In creating the position of director, and giving it to MacConghail, a producer not a director, the Abbey board decided to establish a new senior management structure with clear lines of decision-making, authority and accountability. He runs the show with a cast of uncelebrated subordinated directors and managers and a Board headed by former High Court judge Bryan MacMahon which includes former Docklands Authority board member Domhnall Curtin and some in-house actors and directors such as Jane Brennan and playwrights such as Tom Kilroy. It is a registered charity that banks with AIB, receives legal advice from Arthur Cox and receives sponsorship from the corporate blue chips. When he took up the job MacConghail negotiated ‘bailout funding’ of €4m from the government, and, before the downturn, managed to bring the Abbey to all-time high levels of grant aid from the Arts Council. Unfortunately the accounts are not without hazard. The income and expenditure account showed an operating deficit of €1,403,554 for 2012. The Arts Council Revenue Grant provides financial life support by way of a 3-year funding agreement. €21,300,000 for the period 2011 to 2013 at €7,100,000 per annum. Out of the €7.1m: gross staff costs are €6m annually, and that without the repertory company whose loss is so bemoaned at least by the likes of former Director Ulick O’Connor. In 2012 staff numbers were 142. Box Office receipts for the Abbey and Peacock Theatres totalled €2,319,528 in 2012. The box-office takings were roughly matched by losses for the period, at €2,378,272. Fundraising is a tradition dating back to original patron Annie Horniman who bought the first Abbey building. The Abbey’s US tour in 2010 presented ‘The Plough and the Stars’ for the MacConghailean purposes of establishing The Abbey Theatre Foundation to raise funds. A tour of England in 2013 pursued a similar strategy. In 2014 there were 615 donating members whose collective contributions reached a bearish €120,636. Fundraising activities have unedifyingly diversified to offer wedding packages. A couple can even hire the Abbey’s ‘dedicated wedding co-ordinator’ to plan that big day, and guests enjoy ‘the wonderful atmosphere of the Yeats Lounge’. MacConghail started with a solid and appropriate vision, A 2006 article in the New York Times claimed MacConghail “has commissioned new work that tackles life in contemporary Ireland, and departing from previous practices, he handed those plays over to young directors who previously only dreamed of working on the Abbey’s main stage. He appointed Conor McPherson, who had said he felt snubbed by the Abbey, as the theater’s 2006 playwright in residence. And directly thumbing his nose at tradition, he declared at least a temporary ban on revivals of classic plays by Sean O’Casey and John Millington Synge, which have long been the theater’s staple fare”. It quoted then US-Ireland Alliance President Trina Vargo to the effect that MacConghail was actually returning the Abbey to its traditional role of breaking boundaries and defying the status quo, part of the theatre’s original mission as set forth by the Abbey’s founder, William Butler Yeats. But early aspiration was confounded and the big problem now is the Abbey’s directionless artistic policy, bereft of imagination and adventure. Its artistic output is once again patchy and unimaginative with exceptional crescendos – like ‘The Late Late Show’ really, a victim of its success or reputation – but more hushed and in Town. Most audiences appear merely to endure the night of theatre it serves up, with its middle-brow, middle-aged, only-half-dressed-up Southside-yielded cultural conservatives downing Carlsbergs during the interval. The Abbey rarely constitutes a big night out. Ireland’s National Theatre still purveys the shame-faced revivals alongside self-consciously ‘new plays’ that led to motions of no confidence in then artistic director, Ben Barnes in 2004 just before MacConghail took over. It still commissions plays of no impact, including a thespian-free David McWilliams one-man-show – a pity since MacConghail’s artistic obsession is relevance and he comes via the Project Arts Centre. Regular stand-offs with the Arts Council have depressingly been money rather than quality oriented, though this might be expected of a body run by arts administrators. The Abbey’s artistic weaknesses can be blamed on a series of uninspired and unwieldy boards and in-house failure to find plays that set the theatrical scene on fire. The Abbey plods on swamped by its glorious past – no golden dawn of course but two famous plays of long ago and a national canon that beat into the sensibilities of three generations of dutiful schoolchildren but never matched the literary genius, or literary impact, resistering elswehere over the century. By now the legacy, the National Theatre thing, is noteworthy for the confines it erects around the Abbey – its theatrical museum status. Certainly the theatre’s first phase was credible: it made history. When the Abbey opened for business on 27 December 1904, Yeats’s ‘On Baile’s Strand’ and Lady Gregory’s ‘Spreading the News’ proved lesser artistic fare than ‘The Well of the Saints’ whose author JM Synge would achieve international controversy with ‘The Playboy of the Western World’ in 1907. However, it was O’Casey’s ‘The Plough and the Stars’ which became the ultimate Abbey Theatre party piece with its closing scene of Dublin in flames during the Rising, British ‘Tommies’, IRA snipers and