IN A perfect worl,d the decision to fund the £24m rebuilding project at the Everyman Theatre in Liverpool would be the proverbial no-brainer.

The Everyman has blazed a glittering trajectory across the theatrical skies since the 1960s; Capital of Culture Year was one of its finest and demonstrated yet again how culture and economic growth can go hand in hand; the theatre has had no major capital investment since the 1970s; we’ll take cash, plastic, cheques or even PayPal, thanks very much.

If it were only that simple and easy.

Even before Capital of Culture Year had run its course, it was becoming obvious that the international and national economic situation was unravelling fast. Now, a third of the way through 2009, nothing can be taken for granted when it comes to public finance, and those behind the Everyman’s rebuilding plans will have to argue convincingly for every penny.

Ultimately, though, those arguments will be much the same as those sketched out above.

Maybe the Everyman’s past will have to be soft-pedalled a bit, with eyes focused on glories to come rather than past achievements, and perhaps hard-luck stories about how the theatre has achieved so much on so little might prove counter-productive, but the thrust will still be very much on convincing those holding the purse strings how central a city’s cultural life is to its well-being and economic prosperity and development.

Take away the jewels in the city’s artistic crown and suddenly Liverpool would look far less attractive as a place to live and do business in.

The Everyman is a vital component of the Liverpool package. It should be supported.