On a bright Friday afternoon, just an hour after the long-anticipated report scrutinising the governance of Abbey Theatre was finally made public, the atmosphere inside the building was brimming with palpable relief and a sense of positivity. The report, which painted a grim account of past mishandlings and costly errors prevalent between 2019 and 2021, critically examined the manner in which issues regarding former co-director, Graham McLaren, and the appointments of new leaders following the exit of McLaren and Neil Murray, were managed.
Interestingly, the current directors, Caitríona McLaughlin and Mark O’Brien, along with other staff members who were lively in the Theatre in the Making event occupying the bar area, were noticeably upbeat and optimistic. It felt as though a pressure point had finally been relieved.
Both McLaughlin and O’Brien were in the director’s office situated on the top floor, recollecting the staff meeting wherein the consultants’ report findings were discussed, with O’Brien acknowledging the successful completion of a lengthy and testing process. McLaughlin noted the staff’s relief and the ability to publicly disclose 12 findings and six recommendations.
There has been a significant turnover in the staff and senior management since their tenure; the controversy has been a subject of focus for over three years of their five-year term. This is their first public discussion about it. Highlighting the long-standing history of the Abbey, extending over 120 years, O’Brien stated that they see this not just about them but as a landmark for the theatre’s future. He clarified that the report was finalised and given board approval only in June, countering the erroneous assertion that it had been idle for long, mentioning, “there was always progress; it never hit a brick wall.”
Despite the long span it took to come up with the report, they are satisfied with its thoroughness, the board’s approval for its findings, and its publication. They are also pleased with the Arts Council’s decision to release the €700,000 in funding that has been withheld since 2022 pending the report’s delivery.
The council expressed satisfaction with the publication, affirmifying that all criteria for its 2022 funding agreement have been met, along with initiating an agreed monitoring and enforcement plan. Included in the contentious issues was the hefty financial burden this prolonged issue had on the Abbey, encompassing payments to former co-directors, investigations and substantial legal expenses. The current directors, who assumed their positions midway through 2021, are unable to comment on matters prior to their tenure or the total cost, acknowledging it spanned five to six years. They emphasise, however, that the Abbey has adhered to statutory responsibilities including legal, financial and HR.
O’Brien states that investigation costs, because they relate to privacy and confidentiality, are governed by certain laws, regulations and duty of care. Significant actions arising from the report have already been implemented or are in progress. The theatre, believes O’Brien, is making meaningful strides towards the future. The theatre’s independent review, by Crowe Ireland, started in December 2022 and, despite taking some time, is reassured there was no stalling. The review was finalised before chair, Dr Frances Ruane, resigned on July 28th.
According to McLaughlin, the board unanimously agrees that from the outset, Ruane pushed for the publication of the findings, as soon as they were approved in June. Ruane’s consistent imperative was transparency of the findings.
They declined to comment on whether the original complainants were accorded fair treatment, or whether the two-year investigation of their complaints was fair towards McLaren, who was the subject of the complaints.
McLaughlin notes that it’s a source of reassurance that the review found the investigation to be in compliance with fair procedures and employment legislation. For the past three years, he says, robust procedures and governance have been top priority for Mark and him.
Acknowledging governance shortcomings, O’Brien says the board has recognised its duty to make corrections, but it’s not possible to attribute blame for past events to one specific party. “I think there was a confluence,” O’Brien concludes.
In his words, “a break is necessary”. The justification “in this particular age, as the Abbey disseminates the papers and openly concurs with our chief sponsor and key stakeholder, along with the department, a series of measures. We truly comprehend our duty.”
There have been rumours of a hiatus of over two months between Abbey’s in-house productions this summer and smaller casts for the Dublin Theatre Festival due to fiscal constraints. However, McLaughlin fervently denies this, stating that “vital structural upkeep was required” and indicating that numerous factors affect the planning of events.
The lack of funding for the national theatre, comparable to the broader theatre sector, doesn’t go unnoticed. The funds haven’t changed since 2008, standing at €2 million less than what was allocated in 2007. The Abbey needs an increased budget and multi-year funding to strategically prepare for the future.
O’Brien mentions a duty towards the future. They are on the verge of initiating a five-year plan, and the development of a new Abbey building “is heading towards a decisive juncture”. This can be seen as “a turning point. There’s an acknowledgment of the past, of the lapses in governance, to rectify the trajectory and instate changes, as advocated by the board. It’s been quite demanding, but it’s also a recognition of the possibility to progress.”