Sir John Whittingdale

I beg to move, That the Bill be now read a Second time. I am delighted to present this Bill on behalf of one of our great national institutions, the Corporation of the Hall of Arts and Sciences, known to most of us as the Royal Albert Hall. I do so as someone who has enjoyed many performances in the hall, ranging from artists like Muse and Eric Clapton to acts such as Cirque du Soleil, through to the Last Night—and many other nights—of the Proms concerts. I also speak as a previous trustee of the hall, a position I was appointed to between 2018 and 2020, having stepped down as Secretary of State for Culture, Media and Sport; it was a great pleasure to take on the role of trustee, and I was disappointed that I then had to give it up because I was reappointed to the position now held by the hon. Member for Rhondda and Ogmore (Chris Bryant), the Minister for Creative Industries, Arts and Tourism. Nevertheless, I have maintained a close interest in the affairs of the hall, and I strongly support the measures that are being brought forward tonight. As a trustee, I was able to see in detail how the hall operates and how it pursues its charitable purposes. It is worth saying a word about the hall, because it is a unique organisation. It was the brainchild of the late Prince consort, Prince Albert, before his death at just 42 years of age in 1861. The corporation was established by royal charter not long afterwards, in 1867, under the chairmanship of the Prince of Wales. The foundation stone of the hall was laid by Queen Victoria in 1867, when she apparently announced without any prior warning that it would not be called the Central Hall of Arts and Sciences, as had been proposed, but would instead be known as the Royal Albert Hall of Arts and Sciences. Since that time, for more than 150 years, the hall has been a beacon in the cultural life of our nation. It is a place of celebration, entertainment, enlightenment and indeed commemoration. It is one of the most recognisable and famous venues in the country, and attracts thousands, if not tens or hundreds of thousands, of visitors to the United Kingdom every year. I know that the Minister, who represents the interests of the creative industries and the arts, will also be aware of that fact in his capacity as the Minister responsible for tourism. The building of the hall was not without difficulty. Initial funding came from the commissioners of the Great Exhibition of 1851, who also provided the site, but the actual cost of construction still needed to be raised. The remaining balance was raised through public subscription, which worked by selling seats in the hall prior to it being built; the potential seat owners agreed to invest their money in the building of the hall and, in exchange, would own a seat in the hall for a lease of 999 years. I understand that over 1,000 seats were sold for roughly £100 each on that basis, 20 of them being taken up by Queen Victoria herself. That unique model has sustained the hall throughout the period since. It is a public-private partnership, which is unique to the hall, I think—I certainly do not know of any others—and it has worked remarkably well. During that time the hall has thrived, despite some extraordinary challenges, including obviously the covid pandemic. The way it works is that the seat holders, who are in many cases either descendants or those who have purchased the seats from the original people who invested their money, are an integral part of the support for the hall. They obviously enjoy access to the seats that they have purchased, but at the same time they hold the hall in trust and have shown remarkable generosity in continuing to promote it.