The coalition's support for fracking is based on ideology, not evidence

The government's dash for gas will increase energy bills, not reduce them.

Today the temporary moratorium on fracking in Lancashire was lifted, completing a journey to redemption for the UK shale gas industry since Cuadrilla caused two small tremors in Blackpool last year. Fracking has been given a green light.

It’s the latest pro-shale move from a coalition government gone fracking crazy. The first two weeks of this month alone have seen George Osborne announce tax breaks for the shale gas industry, Boris Johnson compose a paean to fracking in his Telegraph column and David Cameron tell the House of Commons Liaison Committee that Britain must be part of a "shale gas revolution".

The enthusiasm for shale gas among many in the Conservative Party, and beyond, is partly based on the notion that it will bring down energy bills for consumers. In his Autumn Statement, Osborne justified his fracking tax break by arguing that: "we don't want British families and businesses to be left behind as gas prices tumble on the other side of the Atlantic”.

Fracking indeed caused gas prices to fall in the U.S (although they’ve since rebounded somewhat). And the hope of a similar nosedive has led to the Chancellor staking the future of the UK’s energy system, and the size of our energy bills, on natural gas.

So how likely is it that we’ll enjoy a US style fracking revolution here? Not very, say experts. Analysts at Deutsche Bank, the International Energy Agency (IEA), Ofgem, the European Commission, Chatham House and others, have all concluded that the fall in gas prices seen in the U.S. will not be replicated in Europe. Deutsche Bank, for example, concluded that “those waiting for a shale gas ‘revolution’ outside the US will likely be disappointed, in terms of both price and the speed at which high-volume production can be achieved”. While the IEA have outlined how European shale gas will be 50 per cent more expensive to extract.

Yet Osborne is betting the farm, and the UK’s energy future, on fracking bringing costs down enough to make it economic to run almost half our power supply off gas. At his behest, the Department for Energy and Climate Change last week published its Gas Generation Strategy, which aims to incentivise the construction of up to 40 new gas-fired power stations. Given that the UK already relies on gas for most of its heating and much of its electricity, this move to increase our reliance on an increasingly expensive fuel represents a considerable gamble with consumers’ money. It comes as government advisers, the committee on climate change, today warned that Osborne’s ‘dash for gas’ could increase our energy bills by £600 over the coming decades. The committee cast the low carbon route, which would see bills rise by only £100 by 2020, as an insurance policy against rising gas prices.

There is also the small matter of local opposition to fracking. One Conservative MP has described opposition to windfarms as being a "walk in the park" compared to shale gas. While recent analysis by Greenpeace found that over 60 per cent of England is currently under ‘license block’ consideration for the development of shale gas. Much of this gas is hidden under the Home Counties and, as the residents of Balcombe in West Sussex have demonstrated, fracking is not welcome in these parts.

Earlier this week, leading energy expert, Professor Paul Stevens of Chatham House, went as far as to describe George Osborne’s plan for a dash for gas as "misleading and dangerous" Misleading because it is based on the mirage of lower gas prices resulting from fracking; dangerous because the dash for gas threatens to pull much needed resources away from clean energy and thus poses a significant threat to our efforts to tackle climate change.

In fact, Osborne’s plans to incentivise the construction of 40 new gas power stations are predicated on dismantling key climate laws. Last month, a Greenpeace investigation revealed Osborne’s plans to unpick the Climate Change Act. These plans took a step forward with the publication of the Gas Generation Strategy, which outlines how “gas could play a more extensive role, with higher load factors, should the 4th Carbon Budget be revised upwards.” 

Precisely why Osborne has chosen to ignore the facts in order to pursue his dash for gas is for others to speculate. But for consumers up and down the UK, not to mention our attempts to tackle the urgent threat of climate change, it would be infinitely more reassuring if our energy policy was based on evidence rather than ideology.

Demonstrators protest against hydraulic fracturing for shale gas outside parliament in London on December 1, 2012. Photograph: Getty Images.

Lawrence Carter is a climate campaigner at Greenpeace

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.