James Purnell, the new secretary of state for culture, media and sport. Photograph: Clara Molden/PA
James Purnell, the new secretary of state for culture, media and sport, is so far making all the right noises. An end to the tyranny of targets. Greater emphasis on artistic excellence. A re-definition of what we mean by "access." But, while he's off to a sound start, there's a danger of throwing the baby out with the bathwater.
Those on the right loathe Labour's emphasis on access. I'd argue that it has chalked up some striking successes, most obviously in museums and galleries. I took my two-year-old grandson to the Natural History Museum a few weeks back and was astonished at the diversity of the visitors: hordes of families, loads of anorak'd tourists, bags of school parties all enjoying the excellently-displayed exhibits. Make museums free and you inevitably attract a wider constituency.
Acccess imposes its own disciplines; and I know that theatre-people moan about the time spent on meeting "targets" on outreach, educational work and attracting ethnic minorities. But, without a certain amount of basic bureaucracy, theatre will never expand its audience. And, when I look around, I can see a measurable difference in the clientele. At the Soho Theatre for Baghdad Wedding this week, I was surrounded by young people of mixed racial origin: exactly the generation that, in the past, wouldn't have been seen dead inside a theatre. And I've had similar experiences at the Young Vic, the Lyric Hammersmith, Stratford East and the National. A quiet revolution, so far not much written about, is taking place in the make-up of the audience. I can't believe it isn't related to the emphasis on access.
But I'd like to see Purnell go even further. Increased access is a product of cheap seats, as the National has proved. And, even if we're in for a time of general belt-tightening, I'd like see arts institutions rewarded for cutting prices: Purnell might even revive an idea, originally floated by Chris Smith, of theatres having one statutory, low-price night per week. I saw it done at the Bristol Old Vic for a preview of Ghosts and the place was packed to the rafters. And, when he talks of "excellence", I hope Purnell will include in that a sense of artistic adventure. By that I mean, there should be extra incentives for theatre, ballet and opera companies to commission new work and break out of the standard repertory: otherwise we are doomed to the endless re-cycling of A Midsummer Night's Dream, Swan Lake and La Boheme.
But Purnell's biggest test will come in persuading the new Chancellor not to impose punitive cutbacks on the swelling arts industry. If he can do that, then Purnell will really deserve our plaudits. And Alistair will be our Darling.
