Democracy Ltd by Bobby Friedman: Formula wrong

British elections used to be heroically corrupt.

On 15 September 1830 William Huskisson, the Tory statesman and local MP, was killed while attending the opening of the Liverpool and Manchester Railway. The by-election that followed “found over £100,000 (£10m today) being dispensed for the benefit of a mere 4,400 voters”, according to Antonia Fraser in Perilous Question, her brilliant account of the battle for the Reform Act 1832.

British elections used to be heroically corrupt. Even after the introduction of the secret ballot in the Ballot Act 1872, staggering sums were paid out by competing candidates. “Not only could it be said that corrupt practices had increased, but the expenditure incurred at the last election was excessive,” opined the Earl of Northbrook when the Corrupt and Illegal Practices Prevention Act was going through parliament in 1883. In the preceding general election, in 1880, the Conservative and Liberal Parties had between them spent roughly £2.5m – or £210m in today’s money.

Of that £2.5m, no more than £50,000 was spent by the central party organisations – the rest was spent at the constituency level. The controls that were introduced then, and progressively tightened right up to 1983, were all focused on constituency expenditure during the final few weeks of an election campaign. These controls, though necessary, were clearly not sufficient to cope with modern campaigning – increasingly centralised and extending over many months (sometimes years) before the election starting pistol was fired.

Comprehensive spending controls, with a ban on overseas donations and much stricter rules on the identities of donors, were brought in by the Political Parties Elections and Referendums Act 2000 (PPERA). As home secretary, I was the minister responsible for this act but its provenance was a magisterial report by the Committee on Standards in Public Life under the chairmanship of Lord Neill.

In the closing years of Labour’s last opposition, we were increasingly successful in exploiting a succession of allegations of “sleaze” that had engulfed John Major’s government. But we were daft to imply that the Tories had a monopoly of sin.

In late autumn 1997 the Bernie Ecclestone affair blew up. Ecclestone, the Formula 1 boss,had given £1m to the Labour Party before the election. In mid-October 1997 he met Tony Blair to protest about a planned EU-wide ban on tobacco advertising, on which Formula 1 was heavily dependent.

Though the pre-PPERA rules did not require full disclosure of donations, the fact of Ecclestone’s largesse and his lobbying against the EU ban inevitably and quickly hit the press. The facts were damaging and so, too, as Tony very quickly acknowledged, was its handling. It severely dented our reputation as a party trying to conduct our politics in a better way. Bobby Friedman understandably devotes a chapter of his book to this saga – entirely fair if you’re writing one with the subtitle How Money and Donations Corrupted British Politics.

What undermines Friedman’s wider case is the sloppy way he has put this book together, which is a shame, given that the subjectmatter is so timely. “In the wake of the Ecclestone scandal,” Friedman writes, “Blair saw that reform could no longer be avoided and he asked Lord Neill’s Committee on Standards in Public Life to investigate the system of donations.”

That is simply incorrect. All this happened before the Ecclestone scandal blew up. There was an explicit commitment in the May 1997 Labour manifesto to ask the Neill committee “to consider how the funding of political parties should be regulated and reformed”, a reference to which was in the Queen’s Speech in May, with further details provided by Tony Blair to the party conference on 30 September 1997.

This is not the only irritating error in the book. We are told, for instance, about a donation to David Lloyd George of £50,000 in 1921, “equivalent to over £12m today”; a few pages later there’s a reference to Lloyd George selling baronetcies for “£25,000 (around £1.7m in current money)”. They can’t both be right. In fact, neither figure is: £50,000 in 1921 is about £1.9m in today’s prices, and £25,000 therefore £950,000.

Friedman recites at some length his version of the cross-party talks on party funding, on which I led for the Labour Party, under the chairmanship of Hayden Phillips, a retired civil servant.

In the summer of 2007 we were indeed tantalisingly close to a deal but Friedman is plain wrong in suggesting that the breakdown was Labour’s. Don’t take my word for it. This is what David Heath, the Liberal Democrat representative at the talks, said: “For the Conservatives to now, in effect, walk away is a tragedy and very short-sighted on their part,” and that the Conservative Party’s attitude to a deal “changed . . . markedly over the summer [of 2007] at about the same time as a certain Lord Ashcroft moved into Central Office”.

Away from his panting, conspiratorial narrative, Friedman is more sober in his last, analytical chapter on the future. He makes the crucial point that we already have state funding of political parties; that the total sum needed “to rid the political system of big money comes to around £23m a year – or roughly the cost of a postage stamp for every voter. This is not introducing state funding – just increasing it by a little under 50 per cent.” He considers the idea of a funding mechanism of, say, £3 for every voter; or, in my view, a better variant: that as people vote, they could if they wish tick a box to allocate such a sum to their party.

It may be that Ed Miliband’s reform will start the process to get how we fund politics into better order and cut the reliance on large donations. We need to. But we should also acknowledge that we are light years from the endemic corruption of the 19th century, and that by comparison with many comparable countries, party politics in the UK is both relatively clean and a remarkable bargain.

Jack Straw is the MP for Blackburn (Labour)

Tony's crony, Bernie Ecclestone. Image: Getty

This article first appeared in the 23 September 2013 issue of the New Statesman, Can Miliband speak for England?

Photo:Getty
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Britain's diversity crisis starts with its writers. Here's why

What happens on the casting couch draws the headline, but the problem starts on the page, says James Graham. 

I’m a playwright and screenwriter, which – pertinent to the issues we’ll be discussing in this enquiry – still feels weird to say. I get embarrassed, still, saying that, in a taxi or hairdressers. I don’t know why I still carry that insecurity about saying I’m a writer, but I do, because it sounds like I’m lying, even in my own head.

Obviously I’m completely biased, and probably overstating the influence and importance of my own profession, but I think so many of the problems surrounding lack of representation in the performing arts start with writers.

If we aren’t encouraging and generating writers from certain communities, classes or backgrounds to tell their stories, to write those roles, then there’s not going to be a demand for actors from those communities to play them. For casting agents or drama schools to prioritise getting diverse actors on stage. We need to create those plays and TV dramas –like the ones that I grew up with. I didn’t have any access to much theatre until I was fifteen, but I did have Boys From the Black Stuff, and I did have Cracker, and I did have Band of Gold. I think the loss of those regional producing bodies – Central, Granada – now all completely centralised into London, means that we just tell less of those stories. I remember a TV show called Boon – anyone? – which was set in Nottingham, and I would see on the TV streets I’d walked down, and think, Oh my God, that actor is walking down a street I’ve walked down. That sounds like it’s insignificant. If you’re from a town that is deprived, that feels ignored, it isn’t.

I was very lucky that at my school (which was, at the time, the largest comprehensive school in the country), from the headmaster down to the drama teachers, everyone just believed that working class kids should do plays. Be in plays, read plays, perform plays to the community. Both inside the curriculum of the school day, and outside it – drama teachers dedicating their time to staying behind. Our head of drama identified a group of us who clearly had a passion for it. We weren’t likely thesps. One lad’s entire family were made unemployed when the pit closed. Many lived on the big council estate. My parents and step-parents worked respectively in warehouses, the local council, or as the local window cleaner (incidentally, my first real job. Which I was terrible at).

Our drama teacher was encouraged and determined enough to launch the first ever Drama A-Level in our school. Based on that, about 10 or 12 of us got the confidence – or arrogance – to take our own show to the Edinburgh Festival. We were 16 or 17, and the first people in our community to ever go to visit the festival. We did a play up there, and after that, a psychological unlocking happened, where I thought: maybe I could do a degree in drama (it was the first time I had ever thought to do so) at university (the first in my family to go. Well, joint-first. My twin sister went on the same day, but I walked into my digs first).

I enrolled in drama at Hull University. A high proportion of my peers were middle class. A higher proportion from London or the South East. They talked often about institutions I had never heard of. They were talking about the National Theatre: I didn’t know we had a national theatre that my parents had been paying tax for that I had never been to. Many had performed with the (again, apparently) ‘National’ Youth Theatre, also in London. Paul Roseby, also on this panel, has made such leaps forward in getting the NYT producing in regional venues, and making auditions possible for people across the UK, but unfortunately, at the time, that wasn’t the case for me – and I was the ideal candidate to be in the National Youth Theatre.

I started writing because I had the confidence after I read texts by people like Jim Cartwright, Alan Bennett, John Godber, Alan Ayckbourn: Northern writers, working class writers that made me think it wasn’t just something that other people do.

After returning home, and working at local theatres, I moved down to London. I had to. The major new writing producers are there. All the TV companies are there. The agents are there. I was lucky to find support in a pub fringe theatre – though the economics meant there was no money to commission, so I wrote plays for free for about four years, that would get produced, and reviewed in the national press, while I worked various jobs in the day and slept for a time on a mate's floor. The first person to ever pay to commission me to write a play was Paul Roseby of the National Youth Theatre. I’m now very lucky to be earning a living doing something I love. In a way, compared to actors, or directors, it’s easier for writers who don’t come from a background that can sustain them, financially, in those early years. Your hours can be more flexible. Yes, it was annoying to miss rehearsals because I had a shift in a call centre, but it was still possible to do it. If you’re an actor or director, you’re fully committed. And if you’re doing that for nothing, there starts to be cut-off point for those from backgrounds who can’t.

I’m sure that local and regional theatres are the key to drawing in talent from less privileged backgrounds. But the range of national arts journalism that cover work outside London has been so significantly reduced. In our little echo chamber a few weeks ago, we theatre types talked about Lyn Gardner at the Guardian. Her coverage has been cut, which is very directly going to affect her ability to cover theatre shows outside of London – and so the self-fulfilling cycle of artists leaving their communities to work exclusively in London takes another, inevitable, turn.

I am culpable in this cycle. I have never done a play at the Nottingham Playhouse, my local producing house growing up – why? Because I’ve never submitted one, because I know that it will get less national press attention. So I just open it in London instead. That’s terrible of me. And I should just bite the bullet and say it doesn’t matter about the attention it gets, I should just go and do a story for my community. And if I, and others, started doing that more, maybe they will come.

I also want to blame myself for not contributing back to the state schools that I come from. I really really enjoy going to do writing workshops with kids in schools, but I would say 90 per cent of those that I get invited to are private schools, or boarding schools, or in the South of England. Either because they’re the ones that ask me, because they’re the ones who come and see my shows in London and see me afterwards backstage, or because they have the confidence to email my agent, or they have the budget to pay for my train ticket. Either way, I should do more. It would have helped the younger me so much to meet a real person, from my background, doing what I wanted to do.

I don’t know how to facilitate that. I take inspiration from Act for Change, creating a grassroots organisation. I know that there is a wealth of industry professionals like me who would, if there was a joined-up structure in place that got us out there into less privileged communities, we would on a regular basis go to schools who don’t get to meet industry professionals and don’t unlock that cultural and psychological block that working class kids have that says, that is not for me, that is something that other people do, I would dedicate so much of my time to it. That’s just one idea of hopefully better ones from other people that might come out of this enquiry.

James Graham is a playwright and screenwriter. This piece is adapted from evidence given by James Graham at an inquiry, Acting Up – Breaking the Class Ceiling in the Performing Arts, looking into the problem of a lack of diversity and a class divide in acting in the UK, led by MPs Gloria De Piero and Tracy Brabin.