From Sue Lissenden.
IN 1995, Francis Hamon’s dream of a restored Opera House became popular with Islanders, and, despite a few nay-sayers, their enthusiasm and contributions carried the project, and in 2000 all was realised. It had a clear remit and opened as our community theatre.

Eight years later, the word ‘community’ seems to be missing. Is it? The theatre is open, the director provides a careful programme, and the great upheavals of 2005 and 2006 are no more. The theatre, however, seems to have lost its personality, a loss manifested in a bland website, unattributed welcome in theatre programmes, and absent news reports.

Is there now an outreach programme? Or one in which young performers learn what being in a theatrical event means? In a recent public presentation of the theatre’s history the years between 2000 and 2007 had vanished.
When theatres in the UK are depersonalised, there is an effect. Almost unnoticed, people begin to lose interest, and what follows is a knock-on reduction in attendance.

The training for stewards — health and safety being ferocious now — began during the previous administration. It has surprised those amateur associations which had been providing stewards for decades with only minimal training. But in 2008 the new rigour means that three hours of training each year is required for each steward, and there will be a charge for the privilege. Are we to applaud the theatre for an income-generating initiative?

Is this appropriate for a community theatre? Has a traditional approach to income-generating been abandoned?
Will a level of ‘Friends’ contributions, providing both funds and support, return?

Fund-raising initiativ-es bind the populace to the theatre. Will these ever return? Can it be possible to improve the programming — plays! — by such means? Or are we to suppose that the theatre has become detached from the concept of belonging to us all? Who now cares?

The States have charge of the building. It is looking a little shabby, there are bulbs missing from the great chandelier, and the hospitality suite is less smart than it was. What is now the mechanism for keeping safe that which cost so much in time, effort and money?

It was acknowledged at the end of 2006 that matters could have been arranged better. Were lessons learned about how to improve board/staff relationships? Have there been many changes? Above all, quis custodiet?

The Arts Trust has relinquished responsibility, and Education, Sport and Culture is rarely active, hiding behind that misunderstood phrase ‘arm’s length principle’. Recently the minister accepted the premise that the new Employment Law had not been fully adopted; so late that it had taken an outside consultant to make him realise it.
The theatre which contained so much promise may be in danger.

Some answers would be good, but reassurance would be better.
Ker-Anna,
Rue du Crocquet,
St Brelade.