If Osborne wants growth, he must protect science and our universities

The huge cuts to laboratories and equipment have already undermined the UK's world class science base.

Britain’s long-term prospects for economic growth could be seriously damaged today if the Chancellor announces further cuts to the funding for scientific research in the Spending Review. Three years ago, he froze the overall budget for research projects and made huge reductions in the amount to be spent on laboratories and equipment, undermining the UK’s world class science base in universities. One of the implications of the attack on science funding for the UK’s competitiveness became obvious earlier this month when we were overtaken for the first time by China in a key international league table showing the proportion of national wealth that is invested in research and development. According to provisional figures from the OECD, total R&D spending by China in 2011 increased to 1.84 per cent of its gross domestic product, up from 1.76 per cent the year before, while UK expenditure fell from 1.80 to 1.77 per cent over the same period.

It is particularly ironic given that the government has this month hosted the annual summit of the G8 nations, which previously was a gathering of the world’s biggest economies. The UK now lies fifth among the G8, behind Japan, the United States, France and Germany, in terms of annual expenditure on research and development, and well below the average for the 28 Member States of the European Union.

Some may question whether it really matters that our competitors are investing more in R&D than us. After all, the input of funding does not guarantee the quality of output in terms of products and services that drive economic growth. But a review of data from 19 countries published by the OECD earlier this year concluded that productivity growth is linked to R&D and patenting.

The decrease in UK investment in research and development is partly due to the reduction in government funding, which fell slightly from 0.58 to 0.57 per cent of GDP between 2010 and 2011. But the relatively low level of the UK’s R&D spending is not only due to declining government support for science. The private sector in the UK also invests less than its counterparts in other countries. This is largely because of the dominance of businesses in the services sectors, which traditionally do not carry out very much in R&D. The latest breakdown shows that the financial and professional services sectors, including banking, insurance, accounting and management consultancy, provided 14.5 per cent of UK GDP in 2011, up from 13.5 per cent the previous year, a much higher proportion than in any other G8 country, including the United States.

The coalition has acknowledged that the UK’s future competiveness depends not just on our traditional strengths in areas such as financial services, but also requires the nurture and growth of new knowledge-based businesses and industries. The Coalition Agreement promised to "create a fairer and more balanced economy, where we are not so dependent on a narrow range of economic sectors". And its ‘Plan for Growth’, published in March 2011, laid out an ambition for the UK to not only remain the world’s biggest centre for financial services, but also to become a global leader in, for example, advanced manufacturing, life sciences, and low-carbon energy. Such sectors depend fundamentally for their success on research and innovation, and the government can create an environment that is conducive not just by offering the right financial incentives, such as tax credits for R&D, but also by ensuring a strong and healthy research base, particularly within universities.

Britain gave birth to the modern scientific revolution in the 17th century and its glittering list of international prize winners is evidence of our excellence in basic research. Most recently, Sir John Gurdon shared the 2012 Nobel Prize for Medicine or Physiology for his early outstanding work on the potential of stem cells, which provided the basis for today’s exciting pursuit of promising new treatments for many serious diseases and illnesses.

In a speech at the Royal Society last November, George Osborne acknowledged that "the sheer quality and range of scientific enquiry ... is one of our nation’s greatest achievements in which we can take real pride", and noted that "the quality of our scientific research base is one of the most significant factors encouraging international companies to bring high-value investment here". 

But the coalition is now sapping this strength, not just through underfunding, but also by its clumsy drive against immigration which is discouraging talented overseas researchers from coming to the UK to study and work.

With countries like China and other developing countries now emerging as economic powerhouses, and investing more in the development of their own knowledge-based economic sectors, UK universities can no longer expect to automatically attract the best and the brightest from around the world. So it is crucially important that the Spending Review boosts the UK’s future prospects for prosperity and growth by increasing research funding for our outstanding universities.

An original copy of The Origin of Species which forms part of 'The Royal Society: 350 Years of Science' exhibition is displayed in front of a portrait of Charles Darwin. Photograph: Getty Images.

Bob Ward is policy and communications director of the Grantham Research Institute on Climate Change and the Environment at London School of Economics and Political Science.

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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.