Equity Magazine Summer 2024

Summer 2024

A SPECIAL ISSUE EXPLORING HOW THE UNION WORKS  FROM CONFERENCE TO LOCAL BRANCHES  AND HOW YOU CAN GET INVOLVED ALSO INSIDE: FIGHTING FOR FAIR PLAY IN VIDEO GAMES • TV & FILM NEGOTIATIONS • INTERNATIONAL SOLIDARITY

‘‘Those who fight, can lose. Those who don’t fight, have already lost’’ - Bertolt Brecht

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CONTENTS VIEWS GENERAL SECRETARY PRESIDENT

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FEATURES PEACE & JUSTICE IN COLOMBIA CHANGING THE GAME WE DEMAND BETTER IN FILM & TV EQUITY CONFERENCE BRANCHING OUT MEET YOUR COUNCILLORS PARENTS ON TOUR NO FRINGE MATTER

45 69 1013 1421 2225 2630 31 3233

REGULARS NEWS SCOTLAND NORTHERN IRELAND WALES

3436 37 3839 4041

MEMBERSHIP OBITUARIES NOTIFICATION OF PASSING GETTING INVOLVED DIRECTORY

42 43 4445 4647

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VIEWS: GENERAL SECRETARY PAUL W FLEMING

“This is the democracy issue: taking a look at how member participation is guiding and influencing their union”

This year has seen a seismic general election. Equally important, some might say, as the election of your new Council and officers. In the Council election we saw candidates clearly focussed on our core purpose: improving terms and conditions at work, and access to that work.

In the general election, Equity was louder than ever before, launching an online tool showing arts cuts in your constituency and five targeted demands to every party.

With all this in mind, it makes sense that this magazine is the democracy issue: taking a look at how member participation is guiding and influencing our union.

Our recent legal action and lobbying on casting directories like Spotlight led lots of members to say: “About time!”

Whilst that sentiment is understandable, every member has to understand why we’ve taken on this issue now – because it’s literally in the gift our members. The Councils you elected in 2022 and 2024 chose to change that policy, and chose the strategy we’re pursuing. The General Secretary you elect leads the implementation of that policy, and is the spokesperson for it. The conference voted for by you, from our branches and committees have chosen to take that fight to the Trades Union Congress, the parliament of England and Wales’ 6 million trades unionists.

As a union, Equity is a collectivist organisation. We pick both our positions and our strategy based on the issues which are deeply and widely felt by our members – the way you tell us that is through Council, committees, deputies, and branches.

For too long, Equity’s democratic life has felt separate from the union most of our members experience day-to-day, and the issues they care about. It is legitimate to say that some would rather navel-gaze at ourselves than take the fight out to the industry we seek to improve.

Changing this culture has been a key mission in my first term as General Secretary, creating a union which is genuinely led by the members who are working and seeking work, and not keeping activism within the union for those who occupied positions for the longest, or have the most time to dedicate to it. Democracy is not an endurance test. It’s not about how many meetings you go to, or how long you’ve occupied a space, it should be a test of how connected you are to our members at work, and seeking work.

Democracy isn’t just about voting in elections either: it’s about participation in the broadest sense. Last year 90% of Equity’s

performer and stage management members, on a 90% turnout, approved our hard-won game-changing deal in the West End. This year has seen an unprecedented response rate to our survey which kick-started our TV and film negotiations. Over 2/3 of our members open our fortnightly emails on average. Branch attendance is on the rise. Our Birmingham 2024 Conference had the highest number of reps of any conference ever, and the best representation in terms of age, gender, and race turning up and speaking out.

It’s been a challenge to marry together the vibrant democratic life we see in our deps, our workplaces, our comms, with the formal democracy of voting and standing for positions within the union. But Equity has a more vibrant democratic life now than it did five years ago, and it’s something I’m proud of since being elected in 2020.

Following Council’s unanimous confirmation of me as their candidate for next year’s General Secretary election, I’m looking to five more years of increasing activism and democracy – the only way we move Equity decidedly from a culture of resilience to a culture of resistance.

Members protest arts funding cuts in Glasgow

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VIEWS: PRESIDENT LYNDA ROOKE

“The re-opening of Oldham Coliseum demonstrates that persistence does pay off ”

Sitting down to write this article at the beginning of my second term as President, alongside a newly elected Equity Council and under a new Government, there is a feeling of optimism that the savage cuts to arts funding might end and public investment increase. To ensure this, Equity members need to voice our demands and remind local and national governments of their election pledges in support of our industry.

Over the next two years of my term, I’ll be looking towards the union’s branches, committees, and networks across the UK to do just this.

Inspiration comes from the incredible achievements of Equity members involved in the Save Oldham Coliseum community campaign. I spoke at Equity’s rally to stop Oldham Coliseum from closing back in February 2023, after the theatre lost all its Arts Council England funding, so I was incredibly proud to return this year to celebrate the theatre being saved, alongside the potential of jobs for Equity members. Against all odds, the re-opening of Oldham Coliseum demonstrates that persistence and sheer dogged determination does pay off.

Let’s not stop there; there are more arts spaces across the UK that have closed or are under threat. That is why branches are so vital to our democratic structure, and I encourage all Equity members to get involved in their local branch – they are our eyes and ears right across the UK that alert us to potential threats, and organise and defend workplaces and jobs. Currently, some branches are thriving and we have two new ones – Foyle & West in Northern Ireland and the Highlands & North of Scotland branch. But a few others are less active and operate under the umbrella of neighbouring branches.

Can I urge members to consider standing for branch committees and breathing fresh life into an essential part of the union? What is vital is that no one individual should carry the burden of running a branch alone and that the workload is shared. To lead effective campaigns, each branch must be robust and have a succession plan to ensure that the baton will be passed on. That’s the spirit of activism. I was the first Treasurer of the Bristol & West of England Branch, so I’ve been there on this.

I regularly visit branches across the UK if I’m invited and available, alongside my fellow Councillors (Equity’s

governing body of elected members) and Officers (comprising Equity’s two Vice-Presidents, Honorary Treasurer and General Secretary). Staff are also willing to attend branch meetings, so please invite them to give a talk and discuss the specific sector they organise.

We have had many influential campaigns over the past few years: Stand Up For 17%; Dignity in Digs; Stop AI Stealing the Show; local campaigns opposing arts funding cuts in Bristol, Birmingham, Nottingham and Suffolk, alongside those in the nations of Scotland and Northern Ireland; the English National Opera campaign; and now we have the Welsh National Opera campaign.

And there will be more. So celebrate our successes, bring that positivity to future campaigns, and don’t ever give up.

Together, we’re moving in the right direction.

Equity’s rally to Save Oldham Coliseum last year

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At the Comunes party offices in Bogotá

PEACE & JUSTICE After centuries of oppression and conflict, a recent peace agreement in Colombia has brought hope – and Equity has committed to support it.

A tour of the Casa de la Paz (House of the Peace) born out of the peace process

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Justice for Colombia fringe at Equity conference After Colombians elected the Historic Pact government in 2022, their President Gustavo Petro set to work delivering a nation-wide peace process. The government is also improving social protections, and strengthening workers’ rights in the world’s deadliest country for trade unionists.

At the end of last year, Justice for Colombia – a campaign group supporting Colombians in their struggle for peace and social justice – led an Equity delegation to Bogotá and Cali. They met with human rights organisations, former FARC guerillas now working for peace, and communities affected by police violence during the social protests of 2021.

Crucially, the delegation was able to strengthen links with our Colombian sister union, the Asociación Colombiana de Actores. ACA is doing incredible organising with few resources, and with

the dangers faced by trade unionists in Colombia.

Their President and Director came to address Equity’s conference this year.

Whether it is supporting Chilean artists fleeing dictatorship, industrial action against South African apartheid, or the present work of the International Solidarity Committee, Equity has always recognised that the struggle of artists everywhere are our own. Over the week in Colombia, Equity’s delegation was deeply struck by the bravery, determination, and passionate commitment of performing artists, workers, and community activists there. The union will continue its unwavering solidarity as their struggles continue, towards justice in Colombia for all. ¡La lucha continúa!

Words by Tom Peters. Photos by Nick Fletcher, Tom Greenwood and Karen Malpica.

Julio Correal, President of the Association of Colombian Actors (ACA), speaking at Equity conference

Trade union federation logos, including Colombia’s Central Union of Workers (CUT)

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CHANGING

UK video games may be worth billions, but performers who work in the industry continue to experience low pay and a lack of union agreements. Alysia Judge talks to Equity members to find out what needs to change – and the union’s Official for games outlines the soon-to-launch resources and activity that will raise standards

7 say to understand someone’s story, you “Actors should They should walk a mile in their shoes. But what if those shoes exist inside a video game? be informed stories can take days and days to if their scenes Here, experience. With each step, understanding into something far deeper. Players are of a sexual evolves form intensely personal connections with video game characters. or violent One Reddit thread titled “where do you nature”

leave your character once you finish a game?” has hundreds of responses, and “home” is the most common answer; round a dining table surrounded by family, on the deck of their starship looking out at the galaxy, in their childhood village next to the grave of their father. As the credits rolled, these characters felt so real that players couldn’t bear to turn off the game for the final time and leave them adrift in the dark.

Instead, players returned characters safely to the place they would be most “happy”.

“Bringing a character to life and making an audience feel like they’re really in that world is a real art form,” says Shannon Sailing, Equity’s Audio & New Media Official. “Our members are so highly skilled, they make it look easy.”

But it’s not easy. Video game performers conjure these complex characters from scraps of limited information: a brief biography, age, gender, and maybe a drawing. It’s rare to have a full script, a rehearsal, or even to know the nature of the project and size of your role in advance.

Members argue that this locked-down approach leaves actors adrift in a different kind of dark, vulnerable to uncomfortable situations.

“I have walked into a studio and been confronted with things that I didn’t know I was going to have to do,” says Laurence

Bouvard, whose vocal talents can be heard in games like The Witcher, Horizon Zero Dawn, and Perfect Dark Zero.

One evening, she showed up for a recording session and was met by awkward grins and laughs. She was informed she’d be performing a real-time, several minute sex scene. “I was really taken aback. There were six men watching me. It’s the most humiliating thing I’ve ever done in my entire life.”

Laurence is a veteran of the industry with experience recording sensitive scenes for clients and would have still done the job had she known in advance the nature of it.

“But I would have liked to have the courtesy of knowing in advance what was going to come up so I could be prepared and also could have asked for a closed set.

“And the thing that kills me is that somewhere very high up, this scene went through many, many layers of signing off. Dozens of people thought this was fine, that ‘we don’t even need to alert the actor coming in.’”

New guidance and rates To help protect actors from situations like this and more, Equity is releasing best practice guidance for video game companies that engage performers. It’s a playbook for engagers, but also helps members understand their basic rights as actors.

“This is the gold standard,” says Shannon.

“The way that we think is fair, right, and transparent.”

The guidance is full of useful recommendations, including that actors should be informed if their scenes are of a sexual or violent nature, and they should receive a script. Motion capture performers should know ahead of time whether they’ll be required to do stunts, and receive a call sheet. The best practice guidance also outlines what NDAs should (and shouldn’t) entail, how performers should be protected from the unethical use of artificial intelligence, and recommends best approaches to ensure performer welfare and safety in demanding roles.

David Menkin believes that having established guidance like this will help both performers and studios alike. “By having things in place, everybody knows what the rules are,” he says. “Everybody knows what is expected of them. And it makes it much, much easier to play and create good work.”

As a veteran of both the TV and games

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industries, he’s been cast in shows like The Power and The Sandman, and taken leading roles in games like Final Fantasy XVI and LEGO Star Wars: The Skywalker Saga where he voiced Luke Skywalker.

David says, “Everybody wants regulation because it’s so much easier to plan your budgets, plan your schedules, to plan your meetings, to plan your timelines when there are clear guidelines in place. It provides that structure; there’s safety in it for both actors and vendors.”

Historically, the question of how much video game performers should be paid has been a particularly murky area. Unlike in the US – where SAG-AFTRA, the closed-shop union that represents video games performers, has interactive media agreements – there is no union-bargained agreement for performers who work on video games in the UK to set minimum standards for pay, terms and conditions.

“It is the absolute wild west,” says Laurence.

“If you work on a film, you get paid according to the PACT Equity Cinema Films Agreement. Obviously, your agent can negotiate up but there are minimums that you get, plus holiday pay and so on. In the games industry?” She pulls a face.

“Equity has been pushing for many years to achieve collectively bargained agreements in games, but to no avail so far,” says Shannon. “The vast number of developers, outsourced studios and vendors to tackle, and the current state of play with short term contracts and members being engaged in such difference ways makes it a really difficult area to organise in.”

It’s these outsourced studios – or “vendors” – that are hired to manage the business of performances and who set the rates. David

says the industry standard fee for actors hasn’t shifted much since the mid-nineties when “there was an interim agreement between EA Games and Equity that said, if you recorded more than 50 lines, you would get a buyout of £500,” referring to a oneoff payment that includes future re-use of a performance, making performers ineligible for secondary payments such as royalties or a share in the success of the profits. “The reason why 50 lines is there is because that was the memory size on the discs at the time.

Does that help you understand how old this system is?”

Fast forward to 2024, and video game business is booming. The UK games market grew to £7.82 billion in 2023, according to UKIE, the trade the association for the video game industry in the UK. Equity is fighting for that wealth to be shared with its members.

“There’s got to be a fundamental rethink about the whole culture and ecosystem of games,” says Laurence, who says that many ordinary game developers are also exposed to poor working practices like crunch culture.

“There seems to be a small group of people at the top who are really profiting, and everybody else is kind of working really hard, invisibly.”

Currently, rates for video game performers oscillate wildly. One agent quoted in The Guardian in 2022 for an article titled ‘”An insult”: video game voice actors speak out to demand fair pay’ recalls a famous Hollywood actor receiving £100,000 for a four hour recording session. Meanwhile, SIDE Global, one of the leading suppliers of game audio, separates its performers into tiers and in 2022 stated it would pay its lowest tier (comprised of “older actors” or those voicing “niche, exotic” characters) £200 an hour.

Equity has made continuous efforts to strike up collective agreements with developers, launching the UK’s first ever agreement for video game voice actors with a studio in 2021. “We were in the process of signing up several major studios, but they backed out at the last minute,” says Shannon. “Having just one vendor on board was not the radical shake up of the industry we needed.”

For the first time – as now-outdated legal advice had previously prevented the union from publishing minimum rates where there is no collectively bargained agreement – Equity is releasing a recommended rate card for video games that Shannon hopes

“The industry standard fee for actors hasn’t shifted much since the midnineties”

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will “shake up the industry” by outlining the absolute minimum fees performers should be paid in the absence of collectively bargained agreements. This includes advice on what should be accepted per hour for voiceovers, usage buyouts, motion capture per day and time caps for sessions involving vocal stress such as shouting, grunting, and strenuous work.

Members, unite!

Without those guidelines, performers are at risk. David recalls one role where the producers took his recording session rather than a performance director. They didn’t have a clear idea of how they wanted the character to sound, so David began experimenting.

“And because I was able to be vocally dexterous, they got excited,” he says “They wanted to get through everything. I kept on asking for breaks. They didn’t have time.” Over and over, he screamed whilst squeezing his vocal chords tight, and by the end of the long session his throat was shredded.

“We got in touch with the studio, the vendor, as they call it, and let them know that I had to cancel other work because of this, that I had no warning that this was going to happen. But the reply was that it was up to me to safeguard my voice and to safeguard my time.”

David says Equity’s new guidance on working conditions and rates would have helped avoid that situation, allowing him to “play” more behind the mic with a dedicated performance director guiding a session more deftly, and with breaks to recover. He points to it as an example of how the guidelines benefit both vendors and actors: the actors get safe working conditions, and the vendors get better performances, without risk of their bookings being cancelled by another vendor frying a performer’s vocal chords.

“All of that unity comes from members having the strength to speak up”

Equity hopes that the knowledge in its guidelines will equip vendors with the tools to engage performers fairly and empower members to push for change in the industry.

Successful past agreements have been driven by a united membership that refuses to tolerate poor practices. Shannon says when “people talk about Equity, they use the wrong pronoun. They say ‘what are they doing?’ but really it should be ‘what are we doing? How are we going to achieve this?’

When Shannon sits down with engagers to negotiate a collective bargaining agreement, she says she can be “as charming or persuasive or as scary as I like, but if I don’t have a strong membership behind me, we’ll achieve nothing. All of that unity comes from members having the strength to speak up if they’re being asked to do something dodgy at a recording session – or signing a petition, joining a campaign, writing to an MP, or whatever it may be.” Members should look out for opportunities just like this to get involved with when Equity ramps up its action to improve standards in the video games industry. “These agreements we have in place that set industry standards happen because members make them happen,” continues Shannon.

That includes personal responsibility. David recalls a good friend of his telling him he was about to start work on a bigger budget ‘AAA’ game that David knew had a line in the casting breakdown stating that Microsoft would be able to use his friend’s likeness and voice for anything Microsoft related in perpetuity. When David asked how his friend had negotiated around that, his horrified friend said he didn’t even know the line existed.

“My criticism to my colleagues,” David says, “is that sometimes we do not take personal responsibility because we have an agent advocating for us. Well, do you know what?

Sometimes the agent knows less than you do. This is an evolving industry. We have to take responsibility for what we are signing, what we are doing.” Members who are unsure about the terms of their engagement should contact Equity for advice.

So, while understanding someone might require putting on their shoes, kicking through this kind of change will require members to strap on some hefty boots. But doing so will galvanise an industry that offers limitless creative possibilities for actors.

“I will do a game where I’m a hyperactive, sugar-filled six-year old,” says Laurence, “and then another where it’s WWII and I’m the mother of a son going off to war. That’s the beauty and the craziness of it. I love that about it. Who wouldn’t want to be part of this?”

If you’re a performer who works in video games, you can get involved in Equity’s fight to improve pay and standards in the industry by contacting games@equity.org.uk

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From pay to artificial intelligence, Equity are demanding major changes to the Film & TV Agreements to improve members’ working lives. Sarah Woolley covers what it’s all about, the key demands – and how you can get involved in helping get the best deal possible.

Last year, Equity members packed out London’s famous Leicester Square to stand with sister union SAG-AFTRA, whose members were out on strike.

Members also sent messages of solidarity directly to American peers, via social media, and in press interviews, while Equity’s senior leadership met regularly with those at SAG-AFTRA to share knowledge and support. Moreover, not a single US production was able to break the strike by relocating to the UK. “The 2023 SAG-AFTRA strike in the US really lit a fire under our members in a way that we’ve not seen before – and now it’s our turn to renegotiate our collective agreement,” says Amy Dawson, Equity’s Industrial Official for Film.

As SAG-AFTRA renegotiated their agreement with the AMPTP last year, as of June this year Equity have been doing so with the Producers’ Alliance for Cinema and Television (PACT). PACT’s members are independent producers – ranging from small start-ups to international super indies – and these negotiations will set the minimum standards on pay, terms and conditions for members working on the agreement.

Alongside the PACT negotiations, Equity are also renegotiating side letter agreements with Apple, Netflix, and Disney, which apply to original commissions made by these streaming platforms and are based on the PACT agreement.

“Every single artist will be engaged on those terms if they are working on a film or a TV series,” says Amy. “We need

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to ensure the agreements are fit for purpose and that our members are seeing much more cash in their pockets.”

Meanwhile, the proposals for Equity’s stunt performer and coordinator members are being finalised and the union plans to update on these shortly.

Formulated from members’ priorities, Equity’s key demands for the new agreement are: Higher pay; reforming secondary payments such as royalties and residuals, including with streaming platforms; regulating the use of artificial intelligence; codifying self-tape guidelines to establish fairer methods of casting; and contracts – tackling the use of special stipulations (clauses added to contracts that can undermine union agreements) and ensuring suitable hair and make-up provisions for members of all ethnicities and cultures.

“Producers never come to us with a big pot of cash for our members, so negotiations are always a battle,” says Amy. But she adds that Equity can make bold demands if enough members step up.

It’s also the perfect time to become an Equity Deputy – aka a union representative – in your workplace. If you’re currently working or due to work on a PACT-Equity TV or film contract, then you could play a pivotal role in driving up membership and representing your colleagues. Contact productions@ equity.org.uk to find out how.

And look out for the soon-to-be-launched campaign, which will include opportunities for members to show PACT and the world that they back the demands on social media and at in-person events.

Ultimately, it all comes down to strength in numbers. “We want these negotiations to be the most democratic and member-led that we’ve ever had in recorded media – that’s how we provide the strongest position to PACT,” says Amy. “These agreements are hard fought for and hard won, but we have to be willing to stand up for what we believe in and what we want to achieve.”

If you’re ready for action, there’s a role for you at Equity’s newly launched Film & TV Network. The driving force for the negotiations (members feedback to staff throughout and inform the deal that is reached), it is open to anyone who has been engaged on a PACT-Equity film or TV contract in the last three years. You can join by visiting tinyurl.com/equityfilm-tv-network.

“Pay has not gone up with inflation and the cost of living” - Rakie Ayola “I’m a trustee for the Actors Children’s Trust, and we know about the kind of choices performers who are parents or who have caring responsibilities are having to make. They may be offered a two-month job, but by the time they’ve factored in care and travel, there’s no point doing it – because that £20 they’ll have left over at the end of every week is not worth the stress of reorganising their lives. And because actors are freelancers, the money we earn from a job has to keep us going when we’re not acting too. The bottom line is that pay in the industry has not gone up with inflation and the cost of living, and we’re losing a lot of talent. It also means performers are living in a constant state of tension – because when you get that job that you worked really hard for, you should just be able to enjoy it and throw yourself into it. But you’re thinking all the time that you’re going to be so broke – will they have you back for shifts at the pub? There’s millions of pounds in the industry. Where does it go?”

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“This is a very feast and famine industry, and a lot of people rely on secondary payments” - Hywel Morgan “Since the advent of streaming platforms, there’s a huge global market that Equity members are creating content for.

Some of the viewing figures we hear about are massive, but the streamers aren’t transparent so generally we don’t know how many people are watching or how much money is being made. But it feels like whatever generous upfront buyout we’re getting as performers, there needs to be a fairer way of distributing the overall money earned. This is a very feast and famine industry, and a lot of people rely on secondary payments to keep them going in the fallow times when they’re not working. For example, I once did a film that originally went out on the BBC, but has since been sold onto a global streamer. Hardly anybody saw it on the BBC, but now I get messages from people saying they’ve seen it on the streamer and I can see it’s in the platform’s top watches – yet I probably get about a tenner a year for it. Without us, you wouldn’t be able to make these shows – we should be sharing in that success.”

“Performers need time to read their contracts and understand what they are signing away” - Olivia Williams “When I’m on a set for a major sci-fi film or TV series, at some point a very charming producer will shamble over and say ‘Hey, the special effects guys are set up. If you could head over when you’re wrapped, it’ll only take five minutes.’

Few actors realise that these seconds in front of between 30 and 300 cameras in a 360-degree formation constitute the capture of their biometric data. This data is then fed into AI systems that can manipulate your body and features to make a great movie – or do your reshoots for you. Or put you in another movie. Or access any device that uses facial recognition. Few actors realise that in their contract they have signed away that biometric data for the use of the producers throughout the universe in perpetuity. Equity are negotiating with producers to enshrine ethical and enforceable rights in PACT-EQUITY contracts, so that we don’t suddenly hear or see ourselves doing something we haven’t done and were not paid for. Read your contract, and tell Equity if you don’t like what you read… BEFORE you sign it.

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“Self-tapes can be more convenient for the casting director than the performer” - Enyi Okoronkwo “I’m on Equity’s Screen and New Media Committee and going into these PACT negotiations, we have self-tapes specifically in mind. Self-tapes can allow people to make auditions in a very London-centric industry, but they can also be more convenient for the casting director than the performer. And then all of a sudden, you’re trying to record two scenes in an evening and it’s an exercise in remembering the lines rather than actually giving your best performance.

Equity’s code of best practice for scripted drama includes a four-day minimum turnaround, bank holiday protection, and a six-page maximum, but we still rely on the whim of good casting directors who put their neck out and tell production “We have to follow these rules.” It’s very easy to knock casting directors, but I think we should celebrate good practice, look further up, and have a frank dialogue about the factors behind skipping the guidelines. Having an industry which puts workers before profits is good for everyone and we are working on the shoulders of the good work that Equity members have done for us. The union is its members, it’s not a service. So you have to get involved if you want any change.”

“The rise of special stipulations in the UK is becoming more of an issue” - Cyril Nri “What we’re finding now is that film and TV contracts, which are created in line with Equity’s agreement with Pact, are having ‘special stipulations’ attached to them. These are about 20-40 pages drafted by lawyers, containing problematic clauses that undermine the union agreement – signing away more rights, consent and exploitation than you would under the union agreement. They’re mostly an American practice and have been around for decades, but the rise of their use in the UK is becoming more of an issue, and is something that must be tackled. We also need contracts to ensure appropriate hair and makeup provision for Global Majority actors - it needs to be sourced and supplied by the production company. I shouldn’t have to end up – as I used to – carrying an appropriate bag of makeup that I happen to have sourced because I have a sister in America. This is the time to ensure a meaningful consultation, to make sure that there are those who have knowledge and experience of working with afro-textured hair and darker skin tones. I want to make sure that it is as appropriate for me, as it is for anyone else.”

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Conference is Equity’s biggest event of the year, bringing together over 150 members alongside influential speakers and allies from across the world. But what goes on and what does it mean for you? Here’s your guide to the union’s flagship democratic event.

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On a sunny weekend in May, Equity members from across the country gathered to participate in the union’s annual conference. They were joined in Birmingham’s historic Town Hall by guests who had travelled from countries spanning six different continents, including the USA, Cuba, South Africa, and Slovenia.

What is conference?

Conference is the flagship event for Equity members to decide the union’s agenda and rules. Decisions are made through ‘motions’ put forward by members, which are discussed and voted on.

There are also events that happen around conference, such as fringe panels, receptions, and dinners, where you talk about your industry experiences, swap advice on activism, and enjoy meeting up with other members from all corners of the UK. Who gets to vote at conference?

Members are elected by their branch or committee to be a representative. Councillors can all attend and vote.

Although they cannot vote, the Conference Business Committee (CBC) is crucial to conference. The CBC is made up of committed members who are elected to manage the business of conference and give procedural advice. If an issue comes up about whether the rules have been followed at conference, we’ll be hearing from the CBC! See you there…?

This year’s Equity conference was the best attended ever, with 109 reps, 22 Councillors, 30 observers (non-voting members), guests and staff present. It was also the most diverse among attendees and speakers, including the largest number of women and non-binary speakers yet.

“We’ve worked really hard over the last few years to make conference more engaging and empowering,” says Equity’s Governance Officer Sam Winter, who leads on organising conference. “The formal business of the union’s democracy is really important, but it’s also key that the activists at the heart of the union’s work leave feeling motivated and inspired to take the fight back to their workplaces.”

Conference now moves to a different region in the UK each year, with next year’s event taking place in Derry. Whether you intend to get involved with the union or are already a passionate activist, we hope to see you there!

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THE BIRMINGHAM CONFERENCE EMBLEM This year’s conference emblem was displayed throughout the event, in the Town Hall, on materials, and online. Themed around this year’s setting, the city of Birmingham, the design was created by illustrator Catarina Bessell, with art direction from Equity’s Design & Content Co-ordinator Tom Greenwood.

Figures show a performer reading from a script and a lighting designer, representing Equity members who work on and off-stage.

The arm holding a hammer is taken from the crest of Birmingham City Council’s coat of arms, and represents industry.

Figures were inspired

by Birmingham sculptor Raymond Mason’s ‘Forward’ statue, which stood in the city’s Centenary Square from 1991-2003. It represented the march of Birmingham from its industrial past into the future, and the smoking chimney is also depicted in Equity’s emblem.

The Birmingham motto is produced in the same style as an art nouveau terracotta version found carved on the city’s former Steelhouse Lane police station.

Colours used on the Birmingham Conference 2024 emblem are the same as those used on the Equity emblem, keeping the union’s branding consistent.

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BE OUR GUESTS

FIA Future Now

We were delighted to welcome friends, allies and influential speakers to conference this year – from not only the UK, but from Belgium, Canada, Colombia, Croatia, Cuba, Estonia, France, Germany, Mexico, New Zealand, Palestine, Poland, Slovenia, South Africa, Turkey, and the US too.

Addressing conference, we had the newly elected Mayor of the West Midlands, Richard Parker, and then-Shadow Culture Secretary Thangam Debbonaire.

We also heard from Zarah Sultana, MP for Coventry South who is from Birmingham, who pledged to “build a better, brighter world where arts and entertainment are accessible to all”.

On the first evening an International Reception was held, underscoring Equity’s commitment to solidarity with fellow artists and working people across the world. As producers, bosses and capital all behave globally, so the labour movement must behave globally too.

Among the speakers were those belonging to international trade unions, such as Al Vincent Jr., Executive Director of Actors’ Equity Association in the US, who was able to celebrate the unionisation of Disneyland Resort character and parade performers that same evening.

MP for Coventry South Zahra Sultana

We also heard from representatives of the International Federation of Actors (FIA), the global federation of performers’ unions and associations, including young performers group FIA Future Now. And we were honoured to have the Cuban Ambassador to the UK, Ismara M. Vargas Walter, who thanked Equity for supporting the Cuba Solidarity Campaign.

Alvin Vincent Jr., Executive Director of Actors’ Equity Association in the US

Cuban Ambassador to the UK, Ismara M Vargas Walter

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SET IN MOTION Motions put forward by members are at the heart of conference. It’s these that set the union’s agenda and rules, and those that win a two-thirds majority vote must be carried out by the union (or sometimes, put to a referendum).

How does a motion get submitted to conference?

Each of the union’s industrial and equalities committees submit a motion. Committees are made up of elected members who represent group interests, including the Screen and New Media Committee, Dance Committee, Race Equality Committee, and more.

Each national committee (Northern Ireland, Scotland and Wales) and local branch can also submit a motion to their national or regional meeting. Branches represent regions and are open to all local members to meet regularly and campaign on industry issues, both locally and nationally. You can read more about branches on page 22.

Each national or regional meeting then selects one or two motions to be submitted to conference on behalf of that nation or region.

Finally, Council, the union’s governing body made up of elected members, can also submit motions to conference. You can read more about Council on page 26.

Conference voted unanimously for an emergency motion calling for a campaign to stop cuts and redundancies to the Welsh National Opera (WNO) chorus.

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Councillor Jassa Ahluwalia moves a motion calling for the law to be changed so that casting directory fees are borne by producers, not performers. This motion will be taken to the Trades Union Congress conference in September, when Equity will seek the support of fellow trade unions to achieve this aim.

Equity will campaign for self-employed parents to be entitled to Statutory Shared Parental Leave and Statutory Shared Parental Pay, after a motion put forward by Marina Hampton of the Northern Ireland Committee.

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FRINGE EVENTS Is the industry being honest about the impact of class status on success? What are the challenges when it comes to performing intimate scenes? How did Equity members fight against fascism during World War II? All these topics and more were covered at conference’s fringe events – panels to discuss ideas and issues that affect Equity members.

branch or campaign group. They’re also a great way to discover new ways to get involved with Equity and hear about the work of other members.

14 fringe events took place at this year’s conference – our largest ever programme – across Birmingham’s Rep Theatre and Library.

Fringes are organised by different parts of the union – for example, by a committee,

Equity’s Midlands Official Ian Manborde speaks at a fringe on creativity in campaigning

An international panel discusses the challenges facing young performers

Fringes are a good opportunity to discuss specific industry issues

Equity’s General Secretary runs through a radical history of the union

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HONOURED FOR LIFE

Honorary Life Memberships are the highest honour the union can bestow and are given to those who have made an outstanding contribution to the aims of the union through their activism or work. It is tradition to keep the HLM a secret from the recipient until the moment it is awarded – leading to surprise and some of the most moving moments at conference.

As director of Alrowwad Cultural and Arts Society, Abdelfattah Abusrour delivers arts projects in a refugee camp in Bethlehem, Palestine. He does his work against unbelievable odds, with the centre having been attacked by the Israeli military on various occasions. Despite this, Abdelfattah continues to empower children, young people, and women with a creative programme of ‘beautiful, nonviolent resistance’.

Due to Tonia Daley-Campbell’s stewardship, the union has a West Midlands Branch which is the poster-child for protesting cuts in Birmingham. A Councillor since 2020, Tonia’s work has been extensive – whether directing shows about resisting racism or working to build an anti-racist union, she never shies away from being an Equity advocate at the most difficult times.

Chair of Equity’s Dance Committee from 2017-21, Yukiko Masui has held bad bosses to account against practices which have disproportionately impacted global majority dancers and working class artists. She has been instrumental to the unionisation of dance in the Midlands in particular, including the opening ceremonies of the Birmingham Commonwealth Games where she worked as an assistant choreographer.

A newly-elected Councillor and former Chair of the Stage Actors Committee, Vivien Parry’s contribution to improving pay and conditions in the West End has been invaluable. As a member of the negotiating party, Viv has lobbied London’s theatre bosses to improve the West End agreement on many occasions over the years, leading to successes such as last year’s historic 16.7% pay rise.

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BRANCHING OUT Equity’s branches are at the heart of the union, with activists coming together and standing up for issues locally. Ella Braidwood finds out more and hears from passionate local activists.

Local activism is crucial to driving change in the performing arts, whether it’s fighting cuts or negotiating better pay and conditions. On the ground, Equity members are in the thick of it, getting involved with their local branches to lead marches, meetings and rallies.

There is an Equity branch for each geographical area in the UK and getting involved in your local branch means you can meet regularly with a community of members and campaign on issues facing the industry, both locally and nationally.

Recently, the union has ramped up resources and activity in the Nations & Regions, including hiring extra staff and planning forthcoming new offices. The union has also restructured its branch system to increase member engagement. “It’s really vital for us to have a thriving activist structure, particularly through the branches, to make the union as strong as it can be in every area,” says Louise McMullan, Equity’s Deputy General Secretary, who heads up the union’s Nations & Regions team.

The impact of Equity members’ activism is already plain to see. With arts funding on the chopping block time and time again, the union’s “Stop the Cuts and Save the Arts” campaign has amassed widespread support. In fact, more than 15,000 people have signed a petition calling for arts funding to be protected. Thousands of members wrote to their local mayoral, council and Parliamentary candidates ahead of this year’s local and general elections.

Equity’s branches have been key to this campaign. Last summer, the Bristol & West of England branch fought back after Bristol City Council delayed arts funding decisions; thanks

to this action, Equity were able to meet with the Mayor’s office and we won commitments to clearer processes and quicker funding decisions. In Scotland, members rallied against a proposed 10% cut to the budget of Creative Scotland. In Northern Ireland last year, members packed out Belfast’s The Black Box venue to protest against a proposed 10% arts funding cut to the Arts Council of Northern Ireland. Since then, this cut has been reduced to 5% and members continue taking action to resist the cuts.

But the work doesn’t stop there. Louise wants to keep increasing the union’s presence across the Nations & Regions.

Next up is the Midlands, where a new Equity office will soon be opened. Despite the region being home to Birmingham, the UK’s second most populous city, people there are underrepresented in the entertainment industry. “One of the things that activists in that area have been fighting for really strongly is more jobs, particularly in the film and TV sector,” explains Louise. “We’re basing our office where we think there is the potential for a creative cluster to emerge and we’ll be pushing for more to be happening in that region.”

In the end, the union is indebted to members who give up their time for their local Branches, fighting arts cuts and shaping Equity’s policies. “The people who step up and volunteer to help their fellow members, and do all this hard work across the branches, are so vital for the whole operation of the union,” says Louise. “That is something that we hugely appreciate.

We’d be really lost without them.”

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“I’ve expanded my network of friends within the industry”

Committee training with the Merseyside & Cheshire Branch

Chris Clarkson, Secretary of the Greater Manchester Branch “I joined Equity when I was a student back in the late 90s, but I didn’t become what I’d call an “active member” until 2015.

Why did I want to get more involved? One word: guilt! I’d had a couple of commercial contracts go awry and Equity had always fought my corner. One time, a show I was working on closed early, and I was owed some wages. Equity took them to court on my behalf, and won a payout for me.

“I remember when I went down to my first Greater Manchester Branch meeting: I didn’t understand what was going on! But I stuck with it. After a couple of meetings, someone asked if I wanted to be on the committee. Now, I’m the longest standing current committee member.

A branch meeting

“The Branches are an outlet for local members. The industry is still quite London-centric, so having the ability to meet with other members in your area is incredibly important. For me, I’ve expanded my network of friends within the industry.

Over the last few years, we’ve run loads of events. We’ve marched at Manchester Pride. We also put on audition days, which offers actors the chance to meet different casting directors, directors, and producers. Last year, we did one at the Theatre by the Lake in Cumbria; one of our members ended up getting a job there for its Christmas show.

“Being part of this Branch gives me a sense of satisfaction because I’m giving back to the industry. If we can make anyone’s life in the business a little bit better, then that makes me feel better in return.”

Greater Manchester members (with Chris on the left) at this year’s Equity conference

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“I’m going to branch meetings, having my voice heard and being part of decisions”

West and East Midlands members (with Georgie at the back on the right) at this year’s conference

Georgie Taylor, Chair of the Birmingham & West Midlands Branch “Before joining my local branch, I’d never really considered myself an activist. But that’s absolutely what I am. That’s what this experience has made me realise: activism can be for anybody.

“In Birmingham, funding to many arts organisations is being cut by 50% this year and 100% next year. It’s a really difficult situation, and has rightly sparked a lot of outrage in the area.

But being part of the campaigning that has come out of it has been a huge highlight. It’s given me a way to direct that frustration and outrage.

“We recently went to a May Day rally in Birmingham to protest the cuts across various sectors in the city, which was brilliant. It was tinged with sadness because of the way our industry is being mistreated. But it also showed us how much solidarity there is in this area, both within our industry and from other industries.

“I’m a freelance actor and, before going to my first branch meeting, acting had never even felt like a viable long-term career to me. Now, I’ve met this whole group of people who are making a living in the performing arts in Birmingham. It has been genuinely inspirational.

“Going to branch meetings, having my voice heard and being part of decisions has helped turn my feelings about our industry’s mistreatment into something that is actionable.

“If you have ever felt a bit hopeless, uninspired, or even lonely, then try your local Equity branch. You’ll meet a range of people, with different levels of experience and from a range of professions. It’s a community waiting to support you.”

Protesting Birmingham City Council cuts in May

Birmingham Pride

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The first annual general open meeting of the branch (Credit - Megan Keenan)

“It’s an exciting, vibrant and creative community” Muire McCallion, Chair of the Foyle & West Branch “There used to be a single Northern Ireland General Branch, but a lot of members felt that it was just a Belfast thing. Then, a couple of years ago, Equity appointed Alice Adams Lemon as its first Northern Ireland Official and activity across Northern Ireland increased.

A meeting of the branch (with Muire front left) at this year’s EquityFest

“I got in touch with Alice about having more representation where I live in Derry and the two of us met and put our heads together. In the end, it was a case of putting the word out. When we did, members came forward. Now, we have two branches: my Branch (the Foyle & West Branch) and the Lagan & East Branch. They aren’t just about Derry and Belfast: we’re working to include members in more rural communities.

“As an actor, my profession can be quite isolating. We’re often alone, even more so since the pandemic. My branch makes me feel like I’m part of something bigger. I might be sitting in my room doing my 97th self-tape, but now I know that there are so many others doing the same. They understand why I have to go to my room and shout at a wall!

“Last year, members in Northern Ireland held our first EquityFest in Portrush, bringing together performers and industry experts.

The whole festival was born out of an idea by James McAnespy who is now a member of the Foyle & West Branch. We’ve done so much since setting up the branch; we now have our first ever Student Deputies in Northern Ireland, affiliated with Derry Trades Council, and grown attendance at Omagh and Foyle Prides.

“People sometimes feel nervous about getting involved with their branch because they think it’s going to be very formal. Sure, we’re getting things done, from advice on contract negotiation to unpaid wages. But it’s not an intimidating environment. It’s an exciting, vibrant and creative community.”

Branch committee members (Credit - Megan Keenan)

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MEET YOUR COUNCILLORS Did you vote in Equity’s recent Council elections?

They run every two years and decide which members get to make decisions on your behalf as part of the union’s governing body.

Equity’s Council meet every month and is made up of 35 elected members. At meetings, union matters are discussed, motions are put forward and voted on, and the Council’s decision determines the outcome.

Positions in the Council reflect a diversity of members in the union and Councillors are advised by the union’s elected committees.

In short, Council is Equity’s decision-making making body, with Councillors playing a key role in the running of the union.

Officers Officers meet regularly with each other and staff to gain an in-depth understanding of the running of the union and make recommendations to the wider Council, to which they are accountable. Each Officer role comes with different responsibilities: Councillors choose who will be a Vice-President or the Honorary Treasurer from among themselves, while the President is elected directly by the membership. The General Secretary is also elected by the membership to manage the union and its resources. Whilst the General Secretary is an Officer, they are not a councillor, and rather than voting at Council they are there to advise and carry out the policies set.

President Lynda Rooke

Vice-President Nick Fletcher

General Secretary Paul W Fleming

Vice-President Jackie Clune

Honorary Treasurer David John “I’ve been the Audio Councillor since 2014, and am also in my second term as Honorary Treasurer. My specific role is to keep an eye on the union’s money, run by Equity’s finance department. I go to meetings on investments and staff pensions, run the Benevolent Fund for members who are struggling, present the accounts and the budget… and I ask questions. As an Officer, I really love our meetings – you feel like you’re on every issue that comes through, and we put our recommendations to Council that they as a whole vote on. I’ve learned a hell of a lot and have a better understanding of the big picture as a trade unionist.”

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General List Councillors Equity members from any background, profession or location can stand to be a General List Councillor.

“This is my second term, so I’ve been a Councillor for just over two years now. I’ve found it really empowering to have meaningful input in the union – it gives me hope and a real sense of political agency. I’m most proud of being part of Equity’s campaign to stop casting directories like Spotlight charging upfront fees to performers – from policy paper to member survey to being one of the claimants named in the class action filed to the High Court. It’s been really rewarding to be in a position to help educate people about the function of the union as well, and respond to the concerns of members in a meaningful way.”

Jassa Ahluwalia

Jackie Clune

Sean Biggerstaff

Nick Fletcher

Shenagh Govan

Maureen Hibbert

Vivien Parry

Eleanor Sutton

Sam Swann

Photo: Yellowbelly

Feyesa Wakjira

Jack Wilkinson

Fiona Whitelaw

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Industrial Councillors These Councillors represent different professions within Equity and report to the relevant industrial committees.

Audio Artists, David John

Dancers, Genevieve Say

Singers, Marie Kelly

Stage Management, Lizzie Cooper

Theatre Designers, Louie Whitemore

Theatre Directors, Kerry Kyriacos

Variety, Circus, and Entertainers, Stephanie Greer

“I’m an actor and circus performer, and used to be what was called the Northern Area Councillor, but I wasn’t on Council last term. But then I had a bad experience running a youth circus – we were dismissed by the engager. It really highlighted to me that there are strong collective agreements in the industry for actors, whereas it feels like there’s a lot more opportunity for exploitation of variety, circus, and entertainers who work on more of a selfemployed, gig-basis. That made me think there was more to be done as a Councillor. And now we have a Labour government looking at workers’ rights, getting something that works better for variety performers doesn’t seem a million miles away.”

Variety, Circus, and Entertainers, Joseph Ballard

Variety, Circus, and Entertainers, Dan de la Motte

Variety, Circus, and Entertainers, Mary Lane

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Equalities Councillors Equalities Councillors represent members facing discrimination for protected characteristics alongside young members, and report to the relevant equalities committees.

“This is my second term and I’m now in the Deaf and Disabled Members seat – it’s important that voice is there and is loud! Being a Councillor has been an eye-opener, you see the sheer amount of work the union does. And then there’s the international footprint. When the International Federation of Actors (FIA – the global association for performers’ trade unions) last met in London, I went to a meeting as an Equity Councillor where equalities was discussed. Disability wasn’t mentioned so I asked why, and that started conversations. Now, a new FIA Disability Working Group is going to have its first meeting in August, attended by myself and other Deaf, Disabled and Neurodivergent performers from across the world, working to overcome issues on a global level.”

LGBT+, Giovanni Bienne

Young Members, Marla King

Race Equality, Zainab Hasan

Deaf and Disabled Members, Dan Edge

Women, Lynda Rooke

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National and Area Councillors This group of Councillors represents members from different geographical locations outside of London and report to local branches and national committees.

“This is my first term and I’ve just been to my very first meeting! I used to just pay my union dues until I thought, “I might as well go to branch meetings.” So I got involved and realised there’s so much more to the union. Then I progressed to the Northern Ireland Committee and people were telling me to run for Council. I’m still at the struggling end of the business – I have to fight for every job – and I thought it would be good to have a voice asking, what can Equity do for the little person? I’m going to put my whole heart into it, and be open and honest and not afraid to ask questions.”

Northern Ireland, Marina Hampton

East and South East England, Hywel Morgan

Midlands, Tonia Daley-Campbell

North East, Yorkshire, and Humberside, Rachel Stockdale

Scotland, Jo Cameron Brown

South West, Rachael Fagan

Wales, Julia Carson Sims

North West, Victoria Brazier

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PARENTS ON TOUR

Finding digs, moving around, stretching your allowance.

Working on tour can come with its challenges – let alone before you factor childcare responsibilities into the equation.

“As actors, you just feel like you never have the upper hand,” says Equity member Louisa May Parker, an actor based in Manchester.

“There’s always someone that’s going to come along and take the job off you if you say no, and none of us want to be difficult. When you become a mum, that just intensifies because you already feel like you’re going to be left behind.”

Like many Equity members, Louisa has had to juggle parenthood with work. At the beginning of 2020, a theatre tour she was performing in was cut short due to the onset of the Covid pandemic. When it was remounted in early 2023, the original cast were all asked to take up their roles again, but this time Louisa would be doing so as the parent of a two-year old toddler.

“I’d never left my daughter for more than a night before,” says Louisa. “I was still breastfeeding, and there was no way I was going to go away every week and leave her.

She had to come on tour with me, and I was able to bring my partner to help with care.

That was the only way I could have done the job.”

So Louisa got in touch with Equity, and together with her agent they approached the production company to see what support could be offered. The outcome was a £40 uplift in her touring allowance – which was applied to the rest of her castmates too – and help planning her childcare needs.

“I needed the tour and rehearsal schedule up front, I needed to know whether rehearsals could be child friendly, whether the venues would allow my daughter there, with another carer. I had all these questions and I couldn’t say yes until I had the answers.

To be fair to the production company, they were supportive and they got those answers to me.”

Louisa stresses the importance of companies scheduling as much as possible in advance, to help parents plan ahead: “We shouldn’t have to go to a company and ask these questions. It should be in the casting breakdown that support is available.”

Touring still presented a huge challenge, although Louisa is grateful her family could make it work. “In my husband’s case, he took the time off work. So we were just living off my wage, which wasn’t a lot. As a family we lost money doing this job so it was a one off for us – we couldn’t afford to do it again.”

Equity also arranged for Louisa to meet with Arts Council England (ACE), to tell them about her experience. “ACE were really receptive to what I was talking about and said that companies should be putting childcare in their budget, so that it would be accessible for people they might cast in their productions,” she says. “But on the flipside, there is no money. Companies are already stretched or having to take things off their budget – what it comes down to is funding.

“But parents and carers simply can’t do these jobs without more industry support in place.”

If you’re an Equity member in need of support or advice on your treatment as a parent or carer at work, contact your relevant industrial or regional/ national official – details in the Directory on pages 46-47.

Louisa May Parker

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NO FRINGE MATTER There is a long way to go when it comes to improving accessibility in theatres – especially for independent productions with less funding. With Edinburgh Fringe in swing, we explore the issues faced by disabled artists and outline how the union can help.

Away from the mainstream, fringe theatre is an exciting, experimental space where perspectives from marginalised groups can be heard. So, it is contradictory then that disabled people can often find themselves excluded from accessing it.

“The current state of access in fringe theatres across the UK is poor, with a high percentage of venues used being inaccessible,” says Natalie Amber, Chair of Equity’s Deaf and Disabled Members Committee (DDMC). “Access is often not on the agenda. It still feels like it is heavily stigmatised with the notion that access means it is going to be expensive to meet access requirements.”

These issues are brought to the fore in August, when the Edinburgh Fringe Festival takes place, transforming the Scottish city into a creative hotbed of comedy, theatre, dance, musicals and much more.

Performances can take place in impromptu and unconventional spaces – such as hallways, basements, and pub function rooms – making barriers to access all too common.

“Big fringe festivals such as Edinburgh are still very inaccessible,” says Natalie.

“Finding venues which are accessible and affordable is extremely difficult, as is being able to get around the city.”

Brianne’s story One Equity member who has encountered issues working in fringe theatre is Brianne Surgeoner. Brianne is an actress, model, singer, and social media influencer. A double amputee, Brianne was cast in a role for a fringe production at a festival, but red flags soon appeared.

“The production company wanted to specifically cast a disabled actor, but there was not a lot of understanding of what came with that,” says Brianne.

For instance, her accommodation during rehearsals didn’t have a dishwasher, which was an issue for Brianne as she is unable to wash dishes. Brianne says the production company had told her the castmate she was sharing with had agreed to wash the dishes for her, but later found out that her castmate was not happy to do so. This led to Brianne not being able to stay at cast accommodation during the festival and to commute from home every day – a threehour journey each way.

Brianne also believes the conflict that arose from her initial accommodation situation led to a breakdown in relationships with other members of the cast.

“I’ve heard other disabled actors with similar stories, even though it sounds insane,” says Brianne. “Because it’s newly created companies performing in fringe theatre a lot of the time. There needs to be more education, teaching newer companies that disabled people aren’t being divas or dramatic – we just can’t do the same things as everyone else and we need more support.

How to get help “Many fringe theatres and producers do passionately care and demonstrate that they care about accessibility in a broad interpretation of the definition,” says Karrim Jalali, Equity’s Low Pay/No Pay Official who leads on organising fringe theatre.

“However, there is still huge variability, especially when looked at alongside what

“Big fringe festivals such as Edinburgh are still very inaccessible”

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Natalie Amber

Brianne Surgeoner

level of access they even have the resources to realistically offer.”

Equity is one of the only trade unions in the UK that has a specialist Social Security and Tax advice service available to members, with contact details featured in the Directory on page 46. If you’re a disabled member, we can help you with Access to Work, a discretionary scheme paid to those with a disability or health condition to help you get or stay in work. Access to Work can pay for things like specialist equipment and assistive software, support workers, and the costs of travelling to work if you can’t use public transport. It’s important to apply for Access to Work as early as possible when you know you have a job coming up, so that support can be in place for when you start.

“All of that unity comes from members having the strength to speak up”

Equity members who experience workplace issues or discrimination while working in fringe theatre should contact their regional or national Equity official (contact details are listed in the Directory on page 4647). Those working in London can contact Karrim kjalali@equity.org.uk, while those at Edinburgh Fringe can get in touch with Equity’s Scotland office scotland@equity.org.uk.

You can also contact the Scotland office to request an Equity visit to your show or venue at Edinburgh Fringe, or volunteer to be an Edinburgh Dep or point of contact. If you’re having a problem, it is much better to speak to us while the event is in progress as there may be possible ways to resolve issues.

Coming to us once the event has finished

can often be too late. The Equity guide to Edinburgh Fringe can be accessed at tinyurl. com/equity-edinburgh-fringe, and we’ll be running drop-in sessions for members on Sundays throughout the festival: 11, 18, 25 August, 12.30pm-16.30pm at Fringe Central.

Looking to the future While great strides have been made to improve the pay and conditions within the fringe sector, there are still huge challenges to overcome. If you’re a disabled artist who wants to get involved with this work, contact Equity’s Deaf and Disabled Members Committee ddmcommittee@equity.org.uk.

Equity will continue to lobby the Government on a number of issues to improve the working lives of disabled artists in fringe theatre and beyond, such as increasing arts funding to ensure that buildings and theatres are accessible, and expanding the Access to Work Scheme. We will also continue our conversations with the Fringe Society, the organisation that supports the running of the Edinburgh Fringe.

“Fringe theatre can become more accessible through engaging d/Deaf, disabled and neurodivergent creatives to explore any barriers, and by working together to find solutions,” says Natalie Amber. “What we need is to shift the thinking so it is everyone’s accountability to make change.”

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Equity shares evidence with UN on UK’s treatment of Disabled people – damning report published UK coalition of Deaf and Disabled People’s Organisations (Credit - Natasha Hirst)

In March, Equity gave evidence to the UN’s Committee on the Rights of Disabled People on the impact of welfare reform on disabled people in the UK. The resulting report, published in April, is damning of the UK government.

The report found that the UK has “failed to take all appropriate measures to address grave and systematic violations of the human rights of persons with disabilities and has failed to eliminate the root causes of inequality and discrimination.”

“Ill-thought through cuts, particularly as a result of welfare reform, are making it impossible to work in the creative industries unless you have independent wealth,” commented Natalie Amber, Co-Chair of Equity’s Deaf and Disabled Members Committee who gave evidence to the UN. “This is directly and negatively impacting who we see on our stages and screens.” Equity gave evidence as part of the UK coalition of Deaf and Disabled Organisations.

In 2009, the UK Government signed up to the United Nations Convention on the Rights of Disabled People (UNCRDP)*, agreeing to protect and promote the human rights of disabled people. However, in 2016, the UNCRDP found that “grave and systematic violations” of disabled persons rights had taken place in the UK since 2010 as a result of welfare reform and cuts. Now, this review has found the UK Government has failed to address this.

“Working in social security advice under welfare reform has been to watch a disaster unfold,” says Emma Cotton, Social Security & Tax Officer at Equity, who also gave evidence to the UN. “I am now seeing cliff edges that cannot be mitigated. The removal of the safety net will dictate who we see on our stages and screens and the entertainment industry will only be an option for those with independent wealth.”

We will continue to keep members updated on developments and future campaigning in this area. If you need advice on your social security rights, contact Equity’s Social Security and Tax Advice service via email helpline@equity.org.uk or by calling 0207 670 0223 (Monday and Thursday 10am1pm and 2-5pm).

You can read more about the UNCRDP report at tinyurl.com/equity-UN-disabled-people *We refer to the convention as the Convention on the Rights of Disabled People (CRDP) rather than the given name – Convention on the Rights of People with Disabilities (CRPD) – as we follow the social model of disability. The convention allows us to do this.

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Insurance switchover for Equity members coming soon From 1 October 2024, members’ insurance will be transferred to our new insurance broker Verlingue who will be arranging your insurance through a dedicated insurance underwriter.

Our membership team are working hard in the background to ensure the transfer to the new provider is as smooth as possible.

Equity’s insurance offering is a key part of being a union for freelancers. Unlike most working people, without these insurances many of our members – from freelance dance artists to entertainers – would simply be unable to work.

Watch out for further details over the next couple of months on our website and in the newsletter on the updated benefits on offer and the new claims process. We hope you don’t find yourself in a situation that means you need to make a claim.

Your Equity membership provides you the peace of mind of knowing you have this insurance protection – not just for you, but for your fellow members too.

General Secretary Election 2025

The full timetable is included below:

In 2025, the union will elect its General Secretary to serve from 2025-2030.

Monday 13 January 2025: Nominations open. All members are emailed with a link to the nomination form.

Equity’s current General Secretary, Paul W Fleming, is standing as the Council’s Nominee. Equity members are also entitled to stand for the position, in line with the timetable below.

Friday 28 February 2025: Nominations close at 12 noon.

Please note that nomination forms will be sent to members by email only. If you require a physical nomination paper, please email swinter@equity.org.uk; or write to Sam Winter, Equity, FREEPOST RTKS-BRUB-LYJR, Guild House, Upper St Martin’s Lane, London WC2H 9EG (no stamp required). The independent scrutineer appointed to oversee the election is UK Engage.

Thursday 20 March 2025: Ballot opens. Voting papers, election statements and reply-paid envelopes are posted to members.

Tuesday 11 March 2025: nominations received.

Equity Council receives a report on

Friday 2 May 2025: Ballot closes at 12 noon. Completed voting papers must be returned by this date and time.

Saturday 10 May 2025: Result is declared to the Equity Council meeting at Equity Conference and published on the Equity website.

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When Equity won for me!

Equity is there for our members, with support, advice and representation. We can help you take action with collective issues or support you as an individual.

“I had paid my dues to Equity for years without incident and had acted as any good trade unionist would have done, so I decided that this was the moment to seek the union’s help.

Here, Equity member Tayo Aluko explains his big trade union moment, when he turned to Equity in a time of need and secured a resounding victory after an engager cancelled Tayo’s performance and withheld payment:

“Enter Paul Liversey, North West Organiser, who politely wrote to EHU. They stood their ground, so we decided to sue in the Small Claims Court.

“Last year an email landed in my inbox from a stranger.

The branch chair of Edge Hill University’s (EHU) UCU (the lecturers’ union) noted that I was due to give a talk to law students the following Tuesday. They asked if, as there was possible strike action scheduled then, I’d agree not to cross the picket line.

“As an Equity member, I agreed immediately, and sent an email to the university informing them of the situation.

Thirty minutes later, I received a reply stating that they had cancelled both the talk and the subsequent performance of my one-man play, Just An Ordinary Lawyer. I replied that their action was a little hasty, and that they’d missed both a publicity and a ‘teachable moment’ opportunity.

“The following day, I heard that the UCU leadership had called off the strike, so I contacted EHU to see if I should come in after all. I was told that as people had been informed of the cancellation, the best I could hope for was a rescheduling at some future date, and that they were within their rights to withhold the payment I had been expecting.

“The time for the university’s response came and went, and judgement was made in my favour. It was only after this that Paul received a letter from EHU’s solicitors stating that they were requesting the judgement be set aside on the basis that administrative errors led to their defence not being properly lodged.

“Very soon after this, and without further explanation, we heard that EHU had decided to settle the matter and pay me.

“I was able to announce at a subsequent UCU strike rally that I had received payment for not doing much work and as such would be making a donation to the Edge Hill UCU strike fund.

“I am pleased and proud that my big trade union moment demonstrated what solidarity looks like, and how even on one’s lonesome, there is power in a union. Thanks, Equity!”

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Equity members meet up at this year’s Scotland AGM

Scottish members are learning everything they need to know about freelancing thanks to a free training course “Nobody teaches you this stuff, do they?” says Marlene Curran, Equity’s Scotland Official. “They don’t teach you how to create an invoice, what is an expense, or what is tax deductible.”

Marlene is talking about the topics covered by Equity’s freelance training course, available for free to members in Scotland. The course teaches you the skills and knowledge needed to be a successful freelancer – such as dealing with self-assessment tax returns, social security, contracts and negotiations, social media and marketing, networking, insurance, pensions, and more.

“It gave me the viewpoint that you just have to treat it like any other business,” says Christa Cameron, Equity member and Treasurer for the Edinburgh & East of Scotland Branch. “Now I realise that anything I want to do, it’s straightforward: you have to do all the steps, meet the people, do your homework, and do your budget. It just brings it much more down to earth.”

The freelance training course is funded through the Scottish Union Learning Fund. It was the first time Equity had applied for the fund and came about through close engagement between the Scotland National Committee and the Scottish Trades Union Congress (the federation for trade unions in Scotland).

The course is exclusively tailored for Equity members and took the form of interactive sessions online, split into modules covering different topics. “It was really good to meet the other members in the Zoom classes, as well as in person at the Scottish AGM when we showed up to collect our certificates,” says Christa.

Due to overwhelming demand, the freelance training course is running again for members in Scotland.

Christa Cameron

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Tuaisceart Éireann Tá baill Equity ag leanúint leo sa chath “Sábháil na hEalaíona, Seas in aghaidh na gCiorruithe” “Bheadh sé chomh maith agat a rá gur ciorrú atá ann.” B’in a dúirt Stephen Beggs, ball agus Cathaoirleach ar Choiste Thuaisceart Éireann Equity, i mí an Mheithimh.

Bhí Stephen ag tabhairt freagairt ar an nuacht go gcoinneodh Roinn Pobal Thionól Thuaisceart Éireann maoiniú dá cuid comhlachtaí páirtspleácha – Comhairle Ealaíon Thuaisceart Éireann (ACNI) san áireamh – ar an leibhéal chéanna agus a raibh sé in 2023.

“Ciorrú atá ann i ndáiríre, agus tá infheistiú ceart sna healaíona de dhíth orainn, infheistiú a thugann cúiteamh, ní hamháin ó thaobh airgid de, ach ó thaobh ár bpobal, ár sláinte agus ár bhfolláine chomh maith,” arsa Stephen.

Tá feachtas “Sábháil na hEalaíona, Seas in aghaidh na gCiorruithe” ar bun ag Equity ó chuir an Roinn Pobal in iúl do ACNI go raibh ciorrú 10% ag teacht anuraidh. In 2023, bhí na slógaí s’againn ag cur thar maoil, sheol muid na céadta litreacha chuig cinneadóirí agus shínigh na mílte againn achainíocha.

Ar deireadh, cuireadh ciorrú 5% i bhfeidhm – leasú, cinnte, ach ciorrú mar sin féin, agus is é cúlra an scéil gur ísligh maoiniú ACNI 40% le deich mbliana anuas.

Ar aghaidh leid an troid, mar sin. I dtús 2024, chuaigh comhairlí na hArda agus an Dúin Thuaidh, an Iúir, Mhúrn agus an Dúin agus Lár Uladh i bpáirt le Comhairle Cathrach Bhéal Feirste nuair a síníodh litir oscailte Equity chuig an Roinn Pobal, agus nuair a vótáil na comhairlí d’aon ghuth na ciorruithe maoinithe sna healaíona a fhreaschur.

Ansin, i mí an Mhárta, bhí breis agus 130 duine i láthair ag ár gcruinniú poiblí. Sheol na daoine a bhí i láthair litreacha chuig an Aire Pobal ag iarraidh air na ciorruithe a fhreaschur.

Bhí polaiteoirí, taibheoirí iomráiteacha agus mórléiritheoirí a oibríonn i dTuaisceart Éireann ina measc.

Leanfaidh muid linn le stocaireacht ar pholaiteoirí i dTuaisceart Éireann, orthu siúd a toghadh ina bhFeisire le déanaí san áireamh. Má tá tú lonnaithe anseo agus más maith leat páirt a ghlacadh, gabh i dteagmháil le do chraobh áitiúil (seoltaí rphoist ar fáil ar leathanach 44-45).

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Equity members are continuing to fight to ‘Save the Arts, Resist the Cuts’ “A cut in all but name”. So said member Stephen Beggs, Chair of Equity’s Northern Ireland Committee, in June.

the Department for Communities and voting unanimously to reverse arts funding cuts in Northern Ireland.

Stephen was responding to news that the Northern Ireland government’s Department for Communities would keep funding for its arms-length bodies – which includes the Arts Council of Northern Ireland (ACNI) – at the same level as 2023.

Then in March, over 130 people showed up to our public meeting, where attendees sent letters to the Minister for Communities calling on them to reverse the cuts. Among them were politicians, high-profile performers, and leading producers working in Northern Ireland.

“This is still a real terms cut, and we need proper investment in the arts, which repays not only financially but to our communities, health and well-being,” continued Stephen.

We will continue to lobby politicians in Northern Ireland, including those newly elected as MPs. If you’re based here and want to get involved, contact your local branch (email addresses can be found on pages 44-45).

Ever since the Department for Communities told ACNI to expect a 10% cut last year, Equity has been campaigning to ‘Save the Arts, Resist the Cuts’. In 2023, we packed out rallies, sent hundreds of letters to decision-makers, and signed petitions in our thousands.

A 5% cut was eventually implemented – an improvement, yet still a cut and against a backdrop of over 40% of cuts to ACNI funding over the past decade.

So, on we fight. At the beginning of 2024, Ards and North Down, Newry, Mourne and Down and Mid-Ulster Councils joined Belfast City Council in signing Equity’s open letter to

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Cymru Equity yn lansio ymgyrch #AchubOCC i frwydro yn erbyn diswyddiadau gorfodol yn Opera Cenedlaethol Cymru Mae aelodau Equity yng nghorws Opera Cenedlaethol Cymru (WNO) wedi bod yn canu ar strydoedd Caerdydd yr haf hwn fel rhan o frwydr i achub eu swyddi. Mae’r perfformiadau wedi bod yn ganolog i gyfres o ralïau a gynhaliwyd i brotestio newidiadau arfaethedig i gytundebau corws OCC, a fyddai’n lleihau cyflogau ac yn tanseilio diogelwch swyddi.

Wedi’i sbarduno gan doriadau gan Gyngor Celfyddydau Lloegr a Chyngor Celfyddydau Cymru, mae cynigion OCC yn cynnwys lleihau contractau corws llawn amser i 45 wythnos, gan arwain at doriad cyflog o 15% y flwyddyn o leiaf. Mae lleihau maint y corws hefyd wedi cael ei grybwyll, cam allai arwain at ddiswyddiadau gorfodol - rhywbeth na fydd Equity yn ei dderbyn.

Mae’r ymgyrch i #AchubOCC wedi bod yn adeiladu’n gyflym ers i’r cynigion gael eu cyflwyno gan reolwyr ym mis Mai. Yng nghynhadledd flynyddol Equity, pleidleisiodd cynrychiolwyr yn unfrydol i basio cynnig brys yn cefnogi’r ymgyrch. Ym mis Mehefin, llofnododd cantorion OCC lythyr agored at Ysgrifennydd Gwladol Cymru ac Ysgrifennydd Gwladol yr Wrthblaid. Mae’r llythyr yn galw ar y gwleidyddion i warantu cyllid ychwanegol i arbed swyddi sydd mewn perygl.

Bydd y frwydr yn parhau dros y misoedd nesaf. “Ni all ein gwrthwynebiad i’r cynigion presennol ar gyfer ein haelodau, ac ni fydd, yn dibynnu ar benderfyniadau cyllidwyr,” meddai Simon Curtis, Swyddog Cymru a De Orllewin Lloegr Equity. “Ni fyddwn yn derbyn diswyddiadau gorfodol a rhaid i’r cyllidwyr a’r penaethiaid wybod: Bydd Equity yn cadw’r holl opsiynau ar agor i ymladd ymosodiad ar gyflog ac amodau ein haelodau.”

Geiriau gan Zoe Ellsmore

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Wales Equity launches #SaveOurWNO campaign to fight compulsory redundancies at Welsh National Opera Equity members in the Welsh National Opera (WNO) chorus have been singing on the streets of Cardiff this summer as part of a fight to save their jobs. The performances have been central to a series of rallies held to protest proposed changes to WNO chorus contracts, which would cut pay and undermine job security.

says Simon Curtis, Equity’s Wales & South West England Official. “We will not accept compulsory redundancies and the funders and the bosses must know: Equity will keep all options open to fight an attack on our members’ pay and conditions.”

Words by Zoe Ellsmore

Driven by cuts from both Arts Council England and Arts Council of Wales, WNO’s proposals include reducing fulltime chorus contracts to 45 weeks, resulting in a salary cut of at least 15% per year. Reducing the size of the chorus has also been mooted, a move that could lead to compulsory redundancies – something that Equity will not accept.

The campaign to #SaveOurWNO has been building rapidly since the proposals were tabled by management in May. At Equity’s annual conference, delegates voted unanimously to pass an emergency motion backing the campaign. In June, WNO singers signed an open letter to the Secretary of State for Wales and the Shadow Secretary of State. The letter calls on the politicians to guarantee additional funding to save at-risk jobs.

The fight will continue over the coming months. “Our resistance to the current proposals for our members cannot, and will not, be contingent on the decisions of funders,”

Members voted unanimously to #SaveOurWNO at conference

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Obituaries Chris Webb Remembered by Equity members Lee Sheward and Paul Weston

It is with great sadness that we have to announce the passing of stuntman and stunt coordinator, Chris Webb.

Carry on Cowboy and Z Cars, and going on to include 10 James Bond films, Batman, Aliens and the Harry Potter franchise.

Chris had been a member of Equity since 1964 and was appointed an Honorary Life Member in 2009.

While doubling for Gene Hackman on the film Company Business in 1991, Chris sustained life changing injuries while performing a stunt at height. The end result greatly altered and limited his ability to work as he had been doing over the previous years.

His contribution to the formation of the Equity Stunt Register in 1973 was immense, and from 1973 until his retirement in 2010 he played a massive part in its development.

He was elected the First Chairman of the fledgling Stunt Committee in the early 70’s, and throughout the 80’s, 90’s and 00’s Chris gave his time and effort to promote the Stunt Register as an independent, autonomous group within Equity. He was also Equity’s Stunt Councillor for multiple terms across four decades. During this time, he played a major role in the construction of all the Equity working agreements across Film, TV and Commercials, again to benefit the growing number of British stunt performers.

During his five-decade career, Chris worked on hundreds of feature films and television productions as a stuntman, starting with

For the rest of his life, Chris continued to passionately fight for better wages and working conditions, and to work for the improvement of all stunt performers.

In 2018, Chris was presented a lifetime achievement award for his service to the British Stunt Register by his peers.

He will be sadly missed by those who knew him and appreciated his dedication to the stunt industry. Our condolences go out to his wife of 67 years Lori, son John, and family.

Chris Webb served on Equity Council from 1975-80, 1982-88, 1994-96, and 201214.

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Notification of Passing Barbara Adair Albert Alchemy John Allison Ernest Almond Georgine Anderson Mighty Atom Allan Bantick David Barclay Chris Barton Barbara Bate Keith Baxter Colin Bennett Wally Binch Elna Black Michael Blakemore Jack Brady Michael Brayshaw Steve Brolin Diane Brookens Richard Burke Sharry C John Cairney David Capri Jean Carlton-Clark Curley Carter Pearl Catlin Rosalind Chappelle Howards Coggins Leslie Conrad Carrie Craig Robert Crewdson Paul Crook Jack Delvin Jacqueline Dutoit Stephen Diamond Sheila Duffy Kenny Eden Heather Emmanuel Enigma Arthur Fawns Colin Fay Eleanor Fazan Bob Flag Rodney Ford Norman Fraser Jennifer Frazer Andy Freeman Jon French Michael G Barron Sara Giddens Annabel Giles Michael Godley Steve Halliwell Sarah Hamilton Aaron Harris

David Hatton Philip Hedley Patricia Henegan Michael Henry Barry Hester Jon Holliday Richard Howard Michael J Shannon Glenda Jackson Michael Jayston David Jay-Taylor Danny Keith-Martin Stephen Kennard David Kernan Brian King Keith King James Laurenson Mary Law William Lawford David Leland Linda Lewis Mark Lewis James Marcus Stewart Masters Eleanor McReady Abigail McMillan Charlotte Moore Amelia Morse Zia Moyheddin Beryl Nesbitt Valerie Newbold Clifford Norgate Sinead O’Connor Maureen O’Reily Irene Papas Tina Paris Kenneth Parrott Sheila Payne Sheena Penson Léon Pepall Wyn Phillips Jacqueline Pilton Oscar Quitak Jenny Richards Monica Robbins Douglass Robinson Tony Rohr Bob Romanoff Michael Rudman Pamela Salem Julian Sands Joan Savage Adrian Schiller Merlith Sim June Simmonds

Bob Sterling Gill Stoker Pamela Strong Johnny Tait Trixi Tassels Adele Thompson Michael Turiansky Lila Valmere Albert Ward Maria Warner Chris Webb Julia Whitaker Maggie Whiting Tom Wilkinson Clive Wilson Martin Wilton Tim Woodward Benjamin Zephaniah In some cases, it may be possible that another member may have used the same or a similar name subsequent to the passing of the above members.

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Getting Involved You are the union: together, we can implement real change in the industry. There are many ways you can stand alongside your fellow members and get involved in Equity’s work, from joining your local branch to becoming active within a network.

BRANCHES Wherever you are based in the UK, there will be a branch: a community of Equity members who meet as a group to discuss the issues facing the industry, both locally and nationally.

Branches hold regular meetings, organise and campaign.

Merseyside & Cheshire merseyside&cheshire@equitybranches.org.uk SCOTLAND Edinburgh & East of Scotland edinburgh&eastofscotland@equitybranches.org.uk Glasgow & West of Scotland glasgow&westofscotland@equitybranches.org.uk Highlands & North of Scotland highlands&northofscotland@equitybranches.org.uk

EAST AND SOUTH EAST Brighton & Sussex brighton&sussex@equitybranches.org.uk East Anglia eastanglia@equitybranches.org.uk Essex & Hertfordshire essex&hertfordshire@equitybranches.org.uk Kent kent@equitybranches.org.uk Oxford & Home Counties oxford&homecounties@equitybranches.org.uk

SOUTH WEST Bristol & West of England bristol&westofengland@equitybranches.org.uk Devon, Cornwall & Wessex devoncornwall&wessex@equitybranches.org.uk

LONDON London North londonnorth@equitybranches.org.uk London South londonsouth@equitybranches.org.uk

NETWORKS Networks are a space for members with a shared interest to meet and discuss issues affecting their area, from burlesque to storytellers. Through these discussions, problems are identified and solutions offered, which the union can then implement.

MIDLANDS Birmingham & West Midlands birmingham&westmidlands@equitybranches.org.uk East Midlands eastmidlands@equitybranches.org.uk

Actor-Muso Network hplant@equity.org.uk Class Network classnetwork@equity.org.uk Comedians’ Network comedians@equity.org.uk Drag Artists’ Network drag@equity.org.uk Green New Deal Network equity4gnd@gmail.com Gypsy, Roma & Traveller Network imanborde@equity.org.uk Immersive Network kjalali@equity.org.uk LGBT+ Network djohnson@equity.org.uk Models’ Network models@equity.org.uk Non-UK-Born Artists’ Network nukba@equity.org.uk Puppeteers’ Network puppeteers@equity.org.uk Storytellers’ Network mday@equity.org.uk Wrestlers’ Network wrestling@equity.org.uk

NORTH EAST, YORKSHIRE AND HUMBERSIDE East Yorkshire & Humber eastyorkshire&humber@equitybranches.org.uk North & West Yorkshire north&westyorkshire@equitybranches.org.uk North East England northeastengland@equitybranches.org.uk South Yorkshire southyorkshire@equitybranches.org.uk NORTHERN IRELAND Foyle & West foyleandwest@equitybranches.org.uk Lagan & East laganandeast@equitybranches.org.uk NORTH WEST Greater Manchester greatermanchester@equitybranches.org.uk Lancashire & Cumbria lancashire&cumbria@equitybranches.org.uk

WALES North Wales northwales@equitybranches.org.uk South Wales southwales@equitybranches.org.uk

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COMMITTEES Members are elected to Equity committees to represent their fellow professionals and to improve their working conditions.

Different committees cover the interests of different groups.

Committees drive union policy, conduct negotiations and ensure that the needs of all Equity members are heard.

Audio Committee audio@equity.org.uk Dance Committee dance@equity.org.uk Deaf & Disabled Members Committee ddmcommittee@equity.org.uk Directors and Designers Committee directorsanddesigners@equity.org.uk LGBT+ Committee lgbtcommittee@equity.org.uk Race Equality Committee reccommittee@equity.org.uk Northern Ireland National Committee nicommittee@equity.org.uk Scottish National Committee scottishcommittee@equity.org.uk Screen & New Media Actors Committee screen@equity.org.uk Singers Committee singers@equity.org.uk

Stage Actors Committee stage@equity.org.uk Stage Management Committee stagemanagement@equity.org.uk Variety, Circus & Entertainers Committee vcec@equity.org.uk Welsh National Committee pwyllgorcymru@equity.org.uk / welshcommittee@equity.org.uk Women’s Committee womenscommittee@equity.org.uk Young Members Committee ymcom@equity.org.uk Do we have your up-to-date contact details? If not, you can amend them by logging into the members area of our website and going to the ‘personal details’ tab in your account.

Alternatively, if you are having difficulties logging in, you can send an email to the Membership Team at membership@ equity.org.uk.

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Directory General Enquiries www.equity.org.uk/contact-us info@equity.org.uk 020 7379 6000 Membership Enquiries membership@equity.org.uk 020 7670 0207 Social Security & Tax Advice Helpline helpline@equity.org.uk 020 7670 0223 (Monday & Thursday 10am-1pm and 2pm-5pm) Equity Distribution Services distributions@equity.org.uk 020 7670 0206 OFFICES Head office, London: Equity, Guild House, Upper St Martin’s Lane, London WC2H 9EG Birmingham: Equity, Unit F3, The Arch, 48-52 Floodgate Street, Birmingham B5 5SL Manchester: Equity, Rebs Corner, 2-4 Loom Street, Manchester M4 6AN Cardiff: Equity, Transport House, 1 Cathedral Road, Cardiff CF11 9HA Glasgow: Equity, Cambridge House, 8 Cambridge Street, Glasgow G2 3DZ Belfast: Equity, SIPTU 3 Antrim Road, Belfast BT15 2BE OFFICERS AND STAFF LIST To email a member of staff or Equity Officer, type the initial of their first name followed by their full surname with no spaces and add @equity.org.uk. For example, the email address for ‘May Whitty’ would be ‘mwhitty@equity.org.uk’.

Officers Lynda Rooke, President Paul W Fleming, General Secretary Jackie Clune, Vice-President Nick Fletcher, Vice-President David John, Honorary Treasurer Secretariat Paul W Fleming, General Secretary Louise McMullan, Deputy for the General Secretary Adam Adnyana, Assistant General Secretary, Live Performance John Barclay, Assistant General Secretary, Recorded Media Beccy Reese, Assistant General Secretary, Finance & Operations

Policy & Governance Nick Baker, Head of General Secretary’s Section Dugald Johnson, Employment Rights Policy Officer Tom Peters, Westminster & International Policy Officer Sam Winter, Governance Officer Live Performance Adam Adnyana, Assistant General Secretary Charlotte Bence, Industrial Official, Theatre Michael Day, Industrial Official, Variety Hannah Plant, Industrial Official, West End/Central London Lottie Stables, Industrial Official, Singers & Dancers Steffan Blayney, Theatre Organiser Nick Keegan, Variety Organiser Recorded Media Assistant General Secretary, John Barclay Natalie Barker, Industrial Official, BBC TV & ITV Liam Budd, Industrial Official, Streaming Amy Dawson, Industrial Official, Film Shannon Sailing, Industrial Official, Audio & Games Yvonne Smith, Industrial Official, Commercials Cathy Sweet, Industrial Official, PACT TV Toby James, Recorded Media Organiser Salome Wagaine, Recorded Media Organiser Martin Kenny, Agents and Professional Services Officer Laura Messenger, Contract Enforcement Officer Nations and Regions Louise McMullan, Deputy for the General Secretary Dominic Bascombe, North East Official (based in Manchester office) Iain Croker, East and South East Official (based in London office) Marlene Curran, Scotland Official (based in Glasgow office) Simon Curtis, Wales and South West Official (based in Cardiff office) Alice Lemon, Northern Ireland Official (based in Belfast office) Karen Lockney, North West Official (based in Manchester office) Ian Manborde, Midlands Official (based in Birmingham office) Gareth Forest, Campaigns & Education Officer Magazine Stephanie Soh, Editor Tom Greenwood, Design Sam Foster, Membership Section Editor

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Members of Equity’s Council in 1949: (left to right) Ivor Ingham, Grace Rattray, Joy Fayre, Honor Blair, Gerry Fitzgerald and Victor Ranger (Credit: Allan/Express/Getty Images)

To all artists: good work To all workers: good art To all people: Equity

Join a union because of who we are, together; not just because of what you do.

Because together, our voice is loud when we make demands of bosses, - whether in theatre, film, TV, audio, new media, dance or variety.

Because together we will build an industry where your class, your gender, your sexuality, your race, your disability does not limit what you can do.

Because together your lived experience becomes part of our voice too.

Because together we can fund insurances, legal support and welfare advice - to enable artists to work.

Because together we educate each other and the industry.

Because together we put the future of our industry’s workforce - freelance and employed - at the heart of its future.

Because together politicians of every party have to hear us - and give our industry, its workforce, and all working people the protection we deserve.

Because together we defend freedom of expression for artists in the United Kingdom, and around the globe.

Because together we create the global society working people and artists need to flourish - defend the environment, fight for new housing, better transport, freedom to move.

Because together you are not alone. We are over 50,000 members, and part of a global movement of millions, across the UK and the globe.

Together, and only together, can we say: To all artists: good work To all workers: good art To all people: Equity