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Equity and the Abbey Theatre

At the beginning of September 2004 management of the Abbey Theatre called a meeting of all employees and informed them that the Board was proposing, due to the financial situation, a restructuring of the Company based on a new Artistic Plan.The Managing Director informed the employees that they were planning a staff reduction of 30 posts from a combination of non-renewal of short-term contract posts and voluntary severance.

He outlined to the staff details of the proposed severance package for which an employee had to have completed 7 years service. Employees were also informed that a number of Departments were to be restructured. This announcement caused consternation among our members and the entire work force which had not been aware that the financial situation had disimproved significantly in recent times.

General meetings of members were held and a strong objection to the proposed action was made by the Union together with the demand for consultation prior to any action.Subsequently, an extraordinary general meeting of the National Theatre Society - one of the governing bodies of the Abbey Theatre - was held and it was then agreed that a Working Group would be established to ' interrogate and consult on the artistic and restructuring plan in it's totality'.

The Working Group has representatives from the advisory council, the Board of the Abbey, the Staff Council and the Trade Unions (including former SIPTU General President, Des Geraghty and Equity Group Secretary, Jane Boushell) originally numbering 8 in total, now expanded to 11 members, Des Geraghty has been agreed as Chairperson.

The Working Group was given 4 weeks to consult and conclude it's deliberations .The Working Group consulted a wide range of interested parties and held discussions with Management to establish a history of the current crisis and the actions taken to date to address this matter before it came a crisis.

The Group held approximately a dozen meetings over three and a half weeks, following which it presented it's findings to a meeting of the Board and shareholders of the National Theatre Society. The Board adopted the report and the meeting of the Shareholders endorsed that decision and agreed to act on the report immediately. The recommendations of the Working Group are as follows:


Abbey Theatre Working Group Recommendations - October 2004

1: Future Steps: We recommend that a formal Consultative Forum should be put in place without delay to take forward the process of consultation and review. This Forum should include all the relevant interests within the Abbey community. The current artistic proposals require further examination; new ideas are also emerging and other key inputs will be needed. This process should continue in tandem with discussions on other structural issues, with the aim of reaching an early agreement on artistic policy, structures, staffing and resources. This should result in a broadly owned document charting the way forward. The ongoing consultations should be coordinated with the review recently announced by the Arts Council, which the Working Group welcomes.

2: Artistic Direction: The Board should now proceed with the recruitment process for the next Artistic Director in succession to Ben Barnes. During the transitional period, the Artistic Director designate will work with the Board, Executive and stakeholders to develop the Theatre’s future artistic policy and identify the structures, staffing and resources needed. 

3: Change and Revitalisation: The management and staff, together with the wider artistic community, must engage in a process of revitalisation by continuing the consultation process begun by the Working Group and by identifying ways of working more efficiently and flexibly to improve the overall performance of the organisation. This should be addressed systematically at the level of each department and where necessary through Union /management discussions. 

4: Staffing Levels: It should be recognised that final staffing levels and the balance between permanent staff and those on contract will only be determined when there is a clear artistic plan and a proper evaluation of how the Theatre can function in the new circumstances. During the transitional period, service levels should in general be maintained, in order not to prejudge the outcome of this process. The threat should be removed of widespread job losses from the core staff. The Consultative Forum should also address the appropriate staffing levels and skills base required for the new Abbey building. Upskilling and training for the existing staff to deal with the new circumstance should also be actively pursued by the Theatre. 

5: Internal Cost Savings: The Group believes that if the Abbey can identify and implement significant cost savings on the basis of an inclusive consultation process, this will greatly strengthen the Theatre’s case for funding. The Group is confident that substantial cost savings can be delivered between now and the end of 2005, through: 

  • (a) Improved efficiency and flexibility in the operations of the Theatre;
  • (b) A reversion to normal (i.e. pre-abbeyonehundred) staffing levels, without prejudice to normal Industrial Relations and HR procedures;
  • (c) Other voluntary options, including sabbaticals, education leave, jobsharing and voluntary leaving opportunities, provided they do not damage the efficient functioning of the Theatre.

6: Short-Term Funding Issues: The Board and Executive should address the current financial crisis by seeking immediate support from the Arts Council to enable the Theatre to deal with larger artistic and structural issues in a degree of relative stability. This case needs to be made in the context of the Abbey demonstrating its capacity to manage its own business efficiently, to engage seriously with internal change issues, and to present a viable artistic and financial plan for 2005.

7: Longer-term Funding Issues: The Board and Executive should also initiate a more structured dialogue with the Arts Council and, as appropriate, with Government with a view to agreeing long-term funding arrangements for the National Theatre. Any new arrangements must continue to ensure the artistic integrity and independence of the Theatre.

8: Funding of Artistic Support Activities: While the primary focus of the Abbey must of necessity be on the work that is staged, the National Theatre must also play a central, though not monopolising, role in developing the talents of writers, actors, directors, designers and all the support skills that go into making theatre. For that reason the Abbey should urgently seek adequate Arts Council funding to continue to support its literary, outreach, educational, archive and training activities. These activities distinguish the National Theatre from other commercial theatres but do impose additional costs on the Abbey which have to be found from some external source.

9: Role of the Peacock Theatre: We see the role of the Peacock Theatre as being a fundamental part of the National Theatre and do not want to see it ‘going dark’ as a cost-saving exercise. In discussions with the Arts Council, the viability and continued functioning of the Peacock is considered a critically important issue in terms of artistic policy, the employment of performing artists and as an outlet for writers.

10: Act 2 Proposals: The Act 2 draft artistic policy document contains many good ideas, but lacks the legitimacy of a fully debated and properly evaluated strategic plan. It should constitute one of a number of key resources for continued broad consultation and evaluation. The outcome, in terms of a new artistic plan, will need to be collectively owned.


11: Seasonal Ensemble: In particular, the proposal to establish an ensemble company of established and emerging actors and other theatre professionals, engaged on a flexible season-to-season basis, should be seriously explored as part of a medium to long-term artistic plan. International comparisons can be explored. This could be a key initiative in developing excellence in performance, training, and flexibility in programming.

12: Artistic Consultation Structures: Linked to the Abbey’s national role is the need for a broad, inclusive style of artistic decision-making and collaboration, centred on strong, open leadership and vision. Consultative artistic structures should be developed to facilitate this, e.g. through a broad panel of artistic associates, including directors, actors, designers, writers and other theatre practitioners, some of whom might be salaried. A range of successful international models are available.

13: Marketing and Promotion: The Theatre should integrate its sales, marketing and press departments, regear them to operate in a proactive way, and strengthen management and leadership in this area. The Abbey needs a major marketing and promotional plan to increase attendance, improve box office revenue and encourage more people to choose the Abbey as a preferred option for their entertainment and enjoyment. Merchandising opportunities should also be actively pursued as a source of revenue. The current inclusive access policy and discounts for students, unwaged and senior citizens should be more widely publicised. While the choice of plays and the quality of the productions in both the Abbey and the Peacock are paramount, there are many other factors which can influence people’s choice of venue. This is a vital aspect of the Theatre’s own recovery programme and the best way to demonstrate that the Abbey wants to connect with its own audiences.

14: Sponsorship: The high level of sponsorship achieved to date for Abbeyonehundred demonstrates the potential of private sector donations as an additional income stream for the Abbey and an innovative way of funding specific projects and initiatives. This opportunity should be vigorously pursued as part of an integrated income development strategy.

15: The Building: The current uncertainty in relation to a new building, combined with the increasingly unsuitable and deteriorating state of the existing premises is having a detrimental effect on the activities of the Theatre. This was not helped by the impact of the Luas construction works. Given that it will be a considerable time before the Abbey is likely to move to a new building, steps should be taken now to improve the comfort and general appearance of the foyer and bar areas. Both of these areas are important for the audiences who frequent the theatre. Considerations of health and safety must also be taken very seriously in this transitional era.


16: Managerial Structures: The Board should undertake an immediate review of the Abbey’s management structures to ensure clear lines of decision making, authority, accountability, responsibility and communication. Consideration should be given to relevant international models of practice.

17: Board Structures: The Board should also review its own structure, size and composition with a view to ensuring a sufficient range and depth of expertise, in particular theatre expertise, to guide the Abbey through the future process of change and to meet best governance standards.

18: Corporate Structures: The Abbey's corporate structures need to be capable of responding to contemporary needs and to meet governance standards. The current corporate structure was established when the current Abbey building was opened in 1966, to protect the independence of the Theatre. With decisions on a new building awaited, it is an appropriate time to examine the corporate structures in tandem with the funding structures. We look forward to engaging in this debate with all the interested parties.

19: Advisory Council: As part of this process, the Advisory Council should also examine its future role in the theatre and consider how it can best contribute to the evolution of the change process. Consideration should be given to the increased involvement of young people in the Theatre and the facilitation of regular artistic interaction with the Artistic Director. At least two meeting per year should be arranged to encourage appraisal of the theatre’s activities and regular feedback on programming and productions.

20: Public Engagement: We believe that this debate about the future direction of the Abbey can help in stimulating interest in the Theatre and should be continued. Our experience of the public goodwill and interest suggests that we follow the publication of this report with an open public discussion in the Theatre about the future direction of the Abbey.The recommendations contained in the report are seen as positive for the union due to our membership of the Working Group and as evidence of our ability to bring about a change in even the most trenchant situation.




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