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Wyatt J. Buck

Lisa Orta

English 126

November 20, 2018

Taking Art a Bit More Seriously

Glittering little lights play with their reflections in the little puddles along the

sidewalk as night throws a veil over the Westend of London. The illuminated windows of

cafés and pubs shout their brilliance into the surging crowds; they are topaz and ember

burning in the dark. Moving around I spot one, no two, three, four theaters in just the

span of two city blocks as they jut out of skyscrapers pompous with promise. Alluring

posters for musicals and plays are painted with romance, betrayal, murder, and mystery to

entice you to cross the theatre’s threshold and enter a world that untethers you from your

banal reality and releases you into the realm of the fantastic.

During my brief stay in London, I have had the delicious opportunity to bask in

a wildly wide array of theatre productions. One of my favorite things to do is to walk

around and grab a pint or a cup of coffee from the surrounding area before sitting down

and devouring a spectacular performance. During my walkabouts, I have made a few ob-

servations. I have come to notice that there is almost a subculture built around these

venues. A new life sputters and sparks and transfigures the atmosphere and identity of the

streets around and theatre. The pubs and restaurants are teeming with people about to go

into a play or having just got out of a play, and the caliber of business also seems to be

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more attractive. Restaurants switch from chains to nice local business and pubs become

more comfortable and almost affluent. All of this seems to be pointing to a clear correla-

tion between the theatre, and it’s surrounding area. Nowhere was this more evident than

The Royal Opera House. Covenant Garden is world renowned for its markets and beauti-

ful atmosphere and with this year reopening of the theatre I wanted to explore this rela-

tionship in more detail. In this essay, I will be investigating the economic impacts of the

Royal Opera House upon its surrounding area and how that impacts the area’s overall at-

mosphere and identity.

To understand how The Royal Opera house impacts its local borough I believe

we first need understand how London and its identity on the large-scale inform identity

on a small scale. Authors Nicolas Bosetti and Tom Colthrope pick up on this thread in

their report entitled “London Identities” published by the Centre For London under their

section of Reports in April 2018. The report attempts to explore the extent to which Lon-

doners sign up to the ‘London identity’ and how this is informed by aspects of the city.

The authors begin their report by addressing the effects of Brexit upon a city largely re-

garded as an international symbol for interrogation and globalization. In many ways,

London’s open policies and economic success have made it out of touch with the rest of

the UK’s interests and opinions. The authors present two dichotomous opinions as to the

foundation of the London identity. One position sees London as an atomized place, which

people visit to earn money or enhance their careers but then leave without putting back

into the city. The other views London as exemplifying a ‘strength in diversity’ cosmopoli-

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tan identity that gives people a deep sense-of-self. The authors present a strong argument

for the latter, and indeed this seems to be the viewpoint the paper adopts. Although the

former augment is addressed, it is shown far too simplistically, and almost appears to be

placed in the article just to be dismissed.

The authors then move to illuminate how the change in the city itself affects

identity. Bosetti and Colthorpe show through statistics and data that Londoner's sense of

identity remains as strong as it was 40 years ago despite barriers in politics, class, and

age, ethnicity, and the dramatic changes that the capital has seen. The sense of belonging

in the city now seldom requires being “born and bred” there. Bosetti and Colthorpe con-

clude that “the London identity it seems is relatively easy and swift to acquire”(4). How-

ever, the authors once again only brush upon oppositional views by only belief mention-

ing how London is suffering from divisions due to an ever-increasing wealth gap and

housing for many becoming unaffordable.

Next, the authors address how different demographics subscribe to the London

identity. They found that across multiple levels of class, ethnicity, sexual orientation, and

locality the degree to which individuals affirm themselves Londoners is widely ubiqui-

tous. Interestingly enough this is not at the expense of the national identity as many Lon-

doner still proudly regard themselves as British(Bosetti and Colthorpe 6). This does not

mean everyone identifies with the city for the same reason. In fact, the reasons peoples

call themselves Londoners are highly subjective and vary immensely from demographic

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to demographic. This raises the question then as to what exactly it is that unites people

under this particular banner?

Many think that because of it’s immense diversity and complexity London as a

city has an obscure and superficial identity. However, the author asserts the opposite and

state that “…perhaps it is that very diversity, and the strength London draws from it, that

shapes the city’s identity”(Bosetti and Colthorpe 11). London derives its sense of identity

from this paradoxical unification under difference. It is a place that doesn’t erase people’s

past identities, but instead gives them a platform for expression and acceptance that leads

to this atmosphere of ‘we are all here to be different.’ But course this confronts us with

the question; how are the arts a vital aspect of this identity?

Places like the Royal Opera House profoundly impact the spaces around them

and in the essay “Fun and Gaming” author Holly Gramazio presents how this

process(called placemaking) works. Just like a planet or star warping space-time around

it different points of focus or engagement can reshape the meaning of the environment

around them for the betterment of the community(Gramazio 2). But this is not in regards

to just aesthetics or the literal presence that is seen. Indeed, The Royal Opera House’s ap-

parent visual concealment was extensively noted in a survey conducted by Bucking-

hamshire New University, with “many interviewees stating that they could not identify

the building despite its central location opposite the market”(Guachalla 7). I even found it

difficult to find and had I not known exactly what it looked like I might have overlooked

it. But, in the same interviews, many also agreed that “the area would be missing a key

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element if the Opera House was located elsewhere”(Guachalla 8). This apparently does

not mean a physical presence so then what makes this vocal point so central in people’s

minds?

The theatre’s effects permeate and bleed out into the surrounding area like a

benevolent underground well that causes an oasis to spring forth in a desert. The Royal

Opera House does this in two ways; reputation and economic symbiosis with Covenant

Garden. Let us begin with the latter.

In his article “Why We Must Find The Arts,” published by the Guardian,

Jonathan Holmes argues that the arts are an economical, cultural, and social powerhouse

in the UK, which deserves subsidization. Holmes is making the point that cultural venues,

like the Royal Opera House, have significant economic impacts on their surrounding en-

virons. Although mostly compelling there is one thing I could almost condemn Holmes

over—his gross oversimplification of a complex issue. The way he sees it, the question of

subsidies for the arts boils down to two extremes—whether or not to subsidize the art at

all. This is far too simplistic of thinking for on issue that is not black and white. To me,

this is not an ‘either-or’ situation as there are many varying degrees to which countries

can provide fundings to cultural programs.

However, despite his somewhat tab abrasive and mocking tone, Holmes redeems

himself by his use of empirical data and rigorous logic to sport his case. Holmes first rea-

son is that agriculture, manufacturing, construction, and many other industries receive far

more in subsidies than do the arts within the UK. But as Holmes points out many of these

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sectors contribute less in returns to the economy than do the arts. This leads to Holmes’

next point—the arts have an outstanding financial return. Far from just throwing money

away, Holmes points out that “the whole of UK theatre received £54m in subsidy in 2008

and it paid back nearly £75m just in value-added tax in London alone”(Holmes). These

are difficult numbers to deny. Holmes, therefore, sees funding the arts not as a charity, but

as an investment with high returns to the economy at large.

Not only that, but the arts are a pivotal contributor to urban regeneration.

Holmes uses the example of Symphony Hall, which “breathed new life into the city cen-

ter in a four-mile stretch from Five Ways to Digbeth”(Holmes). The reopening of this

venue lead to a boom in local retail and service industries, and it also enhanced and deep-

ened local educational opportunities by “offering pupils exposure to a greater variety of

culture”(Holmes). The same was noted for the Royal Opera House’s reopening this year.

Indeed it seems that having cultural vocal points have incredible benefits to their local

boroughs, but what would happen if these places closed? Are they just an oeuvre not nec-

essary before the main course? Or are they an integral part in the fabric of the local econ-

omy?

This is the question that is addressed by Shain Shapiro’s his essay on the “The

Great Disappearing Venues Disaster” published by the Centre for London. In his essay,

Shapiro expresses his concern for the rapidly dwindling outlets for upstart creatives living

in London how their absence affects the local communities. Shapiro sees these venues as

“essential aspects of the London economic and cultural infrastructure and their loss could

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be devastating”(Shapiro). He particularly turns his attention to the music industry, focus-

ing on venues where great artists like Adele, Arctic Monkeys, Muse, and the Rolling

Stones got their start.

Shapiro believes that without these venues, newer artists are facing an uphill bat-

tle—not just for fame, but for simple sustainability in the city. The diminishing of cultural

venues disturbs Shapiro, not only because they have artistic and cultural value to a city,

but also because they are essential parts of their local economies. “A flourishing venue

will be supporting a number of secondary and tertiary industries: staging and lighting,

hospitality and security, graphic design and ticketing”(Shapiro). By providing a wide

range of job opportunities theaters can be tremendous assets to their local boroughs and

therefore their losses are distinctly felt. These venues aren’t just places where artist get

their start. They are integral facets of the local job market. It is Shapiro’s convocation that

investing in the cultural industry could aid with London increasing gentrification.

At times a little preachy and full of somewhat too much wishful thinking,

Shapiro still delivers an interesting point: that local communities can and do suffer due to

the absences of cultural venues. In his essay, he is speaking solely about music venues,

but the principle of the model is still very much applicable to the cultural industry at

large. The most interesting aspect of Shapiro’s argument is that he is advocating on behalf

of not just the juggernauts of London, like the Royal Opera House or the National

Gallery, but on behalf of the smaller cultural platforms that get too often overlooked de-

spite their enormous impact upon their community.

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In the case of both articles, a powerful testament is given to the benefit of investing in

the cultural industry. Subsidizing cultural platforms like the Shapiro’s smaller venues or

the titans of Westend has an incredible benefit to the economy both on large scale and

small.

But about reputation? How does this contribute to the area’s overall atmosphere

and identity? These economic impacts do more than promote a healthy economy. They

provide unique experiences and services that bring people from all over the world who

enjoy theatre together. The wealth and brilliance of these spaces shape the way people see

them. Space is no longer filled with just more streets, just more pubs, only more restau-

rants, and just more people. All these things become apart of the network of this subcul-

ture. In a sprawling labyrinthian metropolis that is London, I can at times feel like I adrift

in a vast ocean, like Theseus turning this way and that down the endless streets and av-

enues. These spaces are like my Ariadne’s thread. They give me a vein to follow, a place

to rest, and a community to embrace.

While I was sitting in plush velvet chair at The Duke Of York’s Theatre, having

a glass of bloody Merlot before going to see a performance of Shakespeare’s King Lear, I

did something I usually would not. I heard this group of older individuals talking about

all their experiences with theatre, and I struck up a conversation with them. We turned out

to have a great deal in common, one of them even being American like myself. We com-

pared performances, actors, and venues in great detail, and we also started talking about

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more personal matters. This made me feel like we were creating a bond over our shared

experiences and I felt a part of something more than just a performance.

To me, this experience is indicative of how powerful these places like the Duke of

York’s Theatre or the Royal Opera House are. They have to gravity to pull in like-minded

individuals, and they give them a chance to connect over shared interests. This is also

why these vocal points are ever so important. The Royal Opera House provides a model

of what is and could be for different areas. It has a powerful economic impact on

Covenant Garden, and it builds an intimate little community where different people can

connect. The Arts are no added side dish—they are the main course. Despite common

opinion, they are not frivolous wastes of time and money. Instead, they are platforms for

prosperity, connection, and identity. The arts are essential aspects of our humanity that

have been with our species since the beginning. Most people who look at the same piece

of art or watch the same performance get something different out of it. The shared expe-

rience gives people the opportunity to embrace difference and hear varying opinions that

could get them to think about the same thing in an entirely new way. In a time that is be-

coming increasingly atomized and brimming with polarizing points of view, perhaps it is

worth taking the arts a bit more seriously.

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Works Cited

Bosetti, Nicolas and Colthorpe, Tom. “London Identities.” London Reports, 18 Apirl. 2018,

www.centreforlondon.org/wp-content/uploads/2018/04/London-identities

Gramazio, Holly. “Fun And Gaming-London Essays.” London Essays,

12 December. 2017, essays.centreforlondon.org/issues/play/fun-and-gaming

Guachalla, Adrian. “The Royal Opera House and Covent Garden: A Symbiotic and Com

plex Touristic Relationship.” Tourism and Hospitality Research, 6 Nov. 2017,

journals.sagepub.com/doi/abs/10.1177/1467358417738309?journalCode=thrb#ar

ticleCitationDownloadContainer

Holmes, Johnathan. “Why We Must Fund The Arts.” The Guardian, 27 Feb. 2010,

www.theguardian.com/commentisfree/2010/feb/27/arts-funding-reasons-sub

sidise-creativity

Shapiro, Shain. “The Great Disappearing Venues Disaster.” London Essays, 27 April. 2016,

essays.centreforlondon.org/issues/culture/disappearing-venues/

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