Autumn 2016 - Equity Magazine

autumn 2016 www.equity.org.uk

New West End agreement for directors Union secures ÂŁ14m from Hollywood studios Malcolm Sinclair re-elected President

Play fair

union launches campaign for equality and diversity

autumn 2016 www.equity.org.uk

Play fair union launches campaign for equality and diversity

Malcolm Sinclair re-elected President Union secures ÂŁ14m from Hollywood studios New West End agreement for directors

autumn 2016 www.equity.org.uk

Play fair

union launches campaign for equality and diversity Malcolm Sinclair re-elected President Union secures ÂŁ14m from Hollywood studios New West End agreement for directors

autumn 2016 www.equity.org.uk

Play fair union launches campaign for equality and diversity

Malcolm Sinclair re-elected President Union secures ÂŁ14m from Hollywood studios New West End agreement for directors

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Contents

14

News

04 President Malcolm Sinclair 06 Contract dispute in court

Success stories 10 12

A range of insurances that complement the established Equity cover:

Union secures £14m Supporting mental health

Cover story 14

Play Fair campaign launches to fight for a fairer industry

• Employers’/Public Liability (when employing others and distinct from the Equity members PLI cover).

• Sets, scenery, props and costumes.

• Portable, technical equipment and instruments.

• Hired in equipment cover.

Features

24 Conference news

Campaigns

• Buildings and contents.

20 Professionally Made

• Business interruption.

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08 Meet the membership 30 Letters 32 Branch update

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front of house

upfront

Malcolm Sinclair re-elected as Equity President

Council backs Equality monitoring Union won the argument for the industry to monitor talent, now we need that data from members

He will lead the most diverse Council to date, which contains eleven candidates that have been elected for the first time. governing body faces new challenges in a post-brexit world In Equity’s biennial elections for the President and Council Malcolm Sinclair has been re-elected for a fourth consecutive two-year term.

It is Equity’s most diverse Council ever, with four Councillors from BAME backgrounds, and there are also 11 candidates that have been elected for the first time.

The new Council members include Tanya Moodie, Summer Strallen, Sandra Marvin and Emmanuel Kojo.

Malcolm said: “We have got a very good Council, with a mixture of age and youth, experience and fresh new energy. In the midst

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Equity has successfully campaigned to influence both Arts Council England and the broadcasters to undertake systematic equality monitoring of actors and performers both on stage and on screen.

As this gathers momentum, the union’s inability to report on the make-up of its own membership becomes an increasingly glaring omission. The Equity Council has now agreed a strategy to introduce equality monitoring. This will enable the union to measure the diversity of its membership, identify key equality issues and areas of underrepresentation. This will inform campaign and recruitment activity.

Further detail: www.equity.org.uk/equalitymonitoring

of the self-inflicted turbulence of Brexit the need for a strong union has never been clearer. As work in theatre, TV and film becomes uncertain we have to stick together, argue and plan on how best to thrive.”

The number of members who voted was 4,458, which represents an 11% turnout – slightly down on the election two years ago. The first meeting of the new Council took place on Tuesday, 19 July.

See a list of the elections results at: www.equity.org.uk/elections2016 More from Malcolm on page 30.

Play Fair campaign will fight for equality and diversity Equity has launched the Play Fair campaign to challenge the industry on under-representation of diversity and discriminatory practices in the casting process.

The union’s four equality committees have joined together to back Play Fair and a member of each of these groups features on

the four different covers printed for this issue. These are Giovanni Bienne, chair, LGBT committee, Somi De Souza, vice chair, Minority Ethnic Members committee, Phoebe Kemp, chair, Deaf and Disabled Members committee and Flip Webster, chair, Women’s committee Read more on page 14.

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Union opposes Punch & Judy ban bARRY council in wales thinks art form is too violent Equity has expressed serious concern at a decision by Barry Council in South Wales to ban Punch and Judy shows from the town’s Barry Island Beats, Eats and Treats festival because of the depiction of violence.

Local councillor Ian Johnson said: “It has elements of hitting people and that is not something that we would want to promote.”

The union has written to the council, informing them that: “Punch and Judy is a much-loved art form that has been around for more than 350 years and has been enjoyed by many generations of children and adults. There are around 50 professional practitioners who are members of Equity and the news of this ban was therefore received with genuine shock by this group of entertainers and members in general.”

The union is currently awaiting a response.

Christine Payne General Secretary

The strength of Equity members has changed the industry for the better over many years, now a new Council has taken up the challenge The Council is the governing body of Equity so it’s fantastic news that the latest election delivered the most diverse group in the union’s history. The previous Council voted to encourage members to choose a Council that more accurately reflected the membership and they should be congratulated for achieving this. I would like to thank all those who stood for election. I witnessed the excitement of those members who got on Council, but I also understand the disappointment felt by those who did not get elected this time.

Less impressive than our new Council was the voter turnout, which was slightly lower than last year and, while it is typical of many other trade unions, it is something we need to continue to address. The turnout is particularly frustrating because I have repeatedly seen the genuine changes the union has made in our industry through member involvement.

This issue of the magazine reports on the more than £1m that the Professionally Made Professionally Paid (PMPP) campaign has delivered for members (see page 20). The springboard for this came from the 2014 union conference, where two motions were voted through calling for a 2015 campaign designed to engage all those who care about the industry to join together to improve conditions for members working on the fringe of our agreements. It was members voting for change and working with union staff that delivered this success.

At the most recent conference in May, Jackie Clune stood up to represent the Stage committee on a motion about parental and caring responsibilities, which said: “It should not be the case that working in the arts should preclude anyone from parenting or caring responsibilities by dint of outmoded and often blinkered practices.”

Subsequently, Equity has become part of a consortium, alongside organisations such as London’s Old Vic and the Donmar Warehouse, concerned with addressing access to work for parents and working alongside the campaign group Parents in Performing Arts. Although Jackie had

previously served as a deputy for Equity, it is only recently she got further involved in the union by standing for the Stage committee because she wanted to see change on issues such as childcare. She will speak about this in the next issue of the magazine.

Our successes are not limited to the live performance arena. Our Recorded Media department recently announced the conclusion of the union’s audits of the Hollywood Studios. We have recovered the stunning amount of £14m for members (see page 10). This is money that members

I have repeatedly seen the genuine changes the union has made in our industry through member involvement” would not have received without the union demanding the studios abide by our agreements. And how are those agreements made? It is members’ involvement on the Screen and New Media committee and working with staff that creates the agreements that benefit all members.

Of course, I understand that life has many demands and not every member has the time to serve on a committee. But we welcome any member engagement, such as going to your local branch, joining a campaign or a march, such as at the recent Pride event (page 12). Hopefully, that will encourage an increased turnout in votes in the next elections. As new Councillor Emmanuel Kojo says: “If you want a change, be part of the change.” www.equity.org.uk/council

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front of house

In brief...

Annual Staff training Conference day

union’sstaff 2015training Annualday will take The Equity Representative Conference will be place on Thursday, 3 November in in London on 17 and May. The London.

National and18regional office deadline for motions isemergency noon on calls switchboards will refer 12 the March and for amendments to Guild House switchboard. Guild noon on 17 April.will Theremain 2016 ARC House reception open. will take place in Bristol on 21, 22 and 23 May.

Missing members The union needs your help to trace BBC more thandeal 350 missing Equity members.

The union hasmembers reached or anhave been Many are life interim agreement with thefor BBC on honourable withdrawal many Minimum for main arewith years.

A listfees is included as artists an insert up by 2.5% and supporting artistsat: this magazine and can be viewed and walk-ons fees have also been www.equity.org.uk/missing-members increased by 1%. The agreement also includes a pre-purchase of certain rights. The deal is effective Equity returns to the Edinburgh from 1 October 2014.

Fringe with free workshops and an advice zone in the new Fringe Central venue at the Edinburgh Centre for Equity strongly opposes Carbon Innovation on Infirmary censorship is extremely Street.

Thisand year’s programme concerned that this includes sessions onshow vocal health, goal was forced to close. union’s setting, starting outThe in stage consistent position is thatThe it union is management and more. supports artistic freedom also bringing back the Sanctuary on of expression. two dates to provide a place of tranquillity for Fringe participants. To see the full list of Equity activities visit: www.equity.org.uk/Edinburgh2016 Welsh soap opera Pobol y Cwm has received a special Bafta honouring the show’s 40th The 2016 Trades Union was Congress anniversary.

The award (TUC) willattake place in presented an event at September Roath and motionBay. is ask the LockEquity’s Studiosfirst in Cardiff TUC to campaign resist the Hannah Raybould,todirector of privatisation Channel the 4. Equity’s Bafta Cymru,of presented second calls on the TUC to accolademotion to actor Gareth Lewis, support unionsit that organise atypical who accepted on behalf of the workers cast and and crew.to assess and monitor the impact of digital taxation on selfemployed workers. At Wales TUC in May assistant general secretary Equity’s West Coast network Stephen Spence spoke duringina the debate US is having event to connect about the EUan referendum, while Wales with fellowSimon members living or in a organiser Curtis spoke workingoninlocal Los government Angeles or nearby. debate funding It will take placeon onculture.

5 November, and the impact In July, 7.30pm –motions 10.30pm the venue Equity’s to and the Scottish 2016 is Timmy Nolan’s bar arts, on Riverside TUC on access to the lack of Drive, CA film 91602. dedicated studio facilities and support for the screen industry in Scotland were carried.

Edinburgh Fringe Exhibit B show

Pobol y Cwm award Equity and TUC

Equity wins legal case for tribute act who was banned from performing Craig Harrison works as a Michael Jackson tribute act and was banned for working for rival companies in Blackpool for a year Equity has supported legal action on behalf of a member working as a Michael Jackson tribute act who was banned by a venue he had performed at from working for any rival companies for a year.

Equity member Craig Harrison performed in the summer of 2015 at Trevor Chance’s Legends show in Blackpool’s Sands Venue, after which he worked with a rival show Kings and Queen of Rock, Pop ’n’ Roll at the Central Pier Showbar in January 2016.

He did this even though his previous contract said he could not work for companies in competition with Trevor Chance’s Legends for 12 months after the contract expired in December 2015.

In a legal battle that went all the way up to the High Court, Trevor Chance’s Legends insisted that Harrison was breaching his contract by taking on a role at the rival show.

However, on 12 July a High Court judge dismissed the claim for an injunction on Harrison’s performances at Central Pier.

The judge ruled that, while the clause in the contract was valid, legal proceedings, which started in May, had been delayed by the Sands Venue until the cusp of the lucrative summer season “as a weapon… to cause avoidable damage, loss and disruption to Central Pier”.

Craig Harrison has expressed his gratitude to Equity for backing his case. He said: “I’m so happy now. I can get on with what I’ve always wanted to do, which is work and perform to the best of my ability.”

All full Equity members who are up-to-date with their subscriptions are entitled to free legal advice from the union. The services cover most legal issues which arise through professional work in the entertainment industry. In particular Equity will deal with legal claims for breach of contract arising from professional engagements together with claims for personal injury. To find out more about the legal services the union offers, visit Equity’s website at: www.equity.org.uk/legal-support

US network

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summer 2016

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meet the membership

Monkey Business Nina Conti is taking on audience participation, improv and heckling in her new show that will be at the Edinburgh Fringe. However, it will still feature her most famous sidekick and here she reveals that we all have a ‘monkey’ side Photography Idil Sukan Interview Phil Pemberton

Q

Your show is about improvisation and audience participation, two elements that many performers feel anxious about. Does it make you nervous?

I can understand why people feel nervous about audience participation if it’s essentially a monologue production and they’re trying to get a point across after spending a lot of time crafting it. But my show is really the opposite of that, so there is nothing to fear and I really enjoy it. Even when somebody heckles it throws the whole audience into a unique present space and the dividends from that can be enormous. For me, it’s not like banging moles on the head and knocking it back.

It’s about seeing where the conversation goes.

Q

Since you started out the comedy scene has changed a lot. Has the popularity of stand-up affected your work?

I’m not exactly in the stand-up world, what I do is slightly weird. I do connect with it when I go to comedy festivals and I often end up on a similar calendar to other comedians – I meet a lot of them along the way. My first Edinburgh show was in 2003, at that time you could turn up at a gig in London and get on pretty easily, it wasn’t really oversubscribed. It appears more of a struggle for somebody starting out now – there are just so many people doing it.

I’m not exactly in the stand-up world, what I do is slightly weird” 08

Q

Do you see yourself as part of the Variety tradition?

At the beginning of my career I considered myself as a stand-up with a gimmick. But Variety is definitely part of the work I have done, particularly when I was performing as part of the Le Soiree, Le Clique show. As I have gone on to work in

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other genres, such as documentaries, I think of myself as an artist working in my own area, asking: “What’s the next way I can push myself?”

Q

Is the monkey puppet your comedy partner?

He is a liberating way to converse as he will say some unsafe things and then I have the job of facing them, or excusing it and then working that through.

Monkey lives in an unaccountable universe and that mouthpiece is really useful to me, because it’s not real and no one said it. I find that fun. I don’t agree with many of the things that I put into the monkey’s mouth but I say them to get closer to what I do think. I think we all have a ‘monkey’ voice, although not many express it through a puppet. They may decide to write it in a letter or troll it on Twitter instead.

Q

When playing the Edinburgh Festival Fringe, do you get time to see other shows?

I do! My ear is to the ground from the minute I get there. I don’t look through the brochure but I instantly start having conversations with people I trust and ask: “What have you seen?” Then I try to go to everything they suggest. That can be anything from a straight play to a magician. In fact, in the spirit of the Fringe, I’ve decided to do a couple of nights with Simon Munnery in an avant-garde show this year. It’s called Whack it up the Flagpole and I expect it to contain some strange stuff.

Nina’s show In Your Face will be playing at The Grand, Pleasance Courtyard, Edinburgh Festival 3-29 August, at the London Criterion Theatre 7-17 September, www.ninaconti.net

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success stories

Boost for West End directors New deal clarifies role of assistant directors, sets pay levels and adds to the agreements in other theatre sectors

Members’ money would have been lost without union action Over the past five years, Equity’s Recorded Media department has been busy auditing the major Hollywood studios for royalties due under our Cinema Films Agreement. Throughout this process Equity has identified and corrected various errors in the way that royalties have been reported.

These audits are now concluded and as a result of this work Equity has recovered a total of £14,890,000 in unpaid royalties for performers, the vast majority of which have already been distributed to members.

Laura Messenger, Equity’s film and contract enforcement organiser, said: “This is a great example of how Equity works on behalf of its members to enforce our contracts. Our members would not have received this money without the union taking action to

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recover it. I would like to extend our thanks to our LA-based firm of auditors, Gingold & Company, who worked with us to secure this money. Furthermore, this action has not cost the union a penny because we have successfully claimed full reimbursement of costs from the studios.”

During this auditing period Equity has strengthened its working ties with the Hollywood film industry and has assisted the studios in their compliance with Equity rules for the purposes of future reporting.

In other US news, Equity has worked closely with American TV companies and, through the pursuit of contract enforcement, we have collected a further £6,162,000 in the past five years – making a total of £21,050,270 for Equity performers.

ITC signs up to Equity pension scheme The Independent Theatre Council has agreed that from April this year producers using the Equity/ITC contract will make employers’ pension contributions into the pension funds of Equity members who have signed up to the Equity Pension Scheme. These contributions are in addition to the agreed weekly salary.

This means that the vast majority of Equity contracts in UK theatre bring with them the right to get contributions into your Equity pension.

The ITC joins the Society of London Theatre, Disney (UK) Theatrical, The Globe, UK Theatre subsidised repertory and commercial tours, the National Theatre and the Royal Shakespeare Company who are already signed up to the Equity pension scheme.

The scheme is also supported by BBC television and radio, and ITV, PACT and TAC — covering undependent TV production and UK Films. Employers’ pension contributions are paid as a percentage of each individual’s negotiated fee and range from 1% to 10% depending on the particular contract.

The Equity Pension Scheme is a personal pension plan which builds a capital sum to provide retirement benefits. The employers supporting the scheme pay into it when you are working.

Find out more: www.equity.org.uk/pension

Marc Brenner

Equity secures £14m from Hollywood studios

Assistant directors working in the West End will now have an improved payment structure and clearer detail on their responsibilities in a new deal negotiated by Equity.

Director and Equity member Lisa Blair, pictured right, was instrumental in achieving this. She approached the union because she felt that there should be a standard SOLT (Society of London Theatre)/Equity agreement for assistant directors.

She subsequently joined the union’s directors and designers committee and worked with Equity’s West End organiser Virginia Wilde in negotiations with SOLT. Lisa said: “I am really pleased that this new agreement for assistant directors was swiftly implemented by both SOLT and Equity. It will benefit all assistant directors working on Equity contracts in West End productions. It will help them negotiate their salary because of the clear pay minimums and also enable them to have greater confidence in their specific role within a production.”

The agreement takes effect from 1 August 2016. With its implementation this will complete the protective agreements that the union has for assistant directors in commercial, subsidised and independent theatre.

Equity is working hard to explain to directors about the benefits of collective bargaining that being a member of the union provides. Further news on developments for directors will be in the next issue of the magazine.

For more information contact Virginia Wilde on vwilde@equity.org.uk or 020 7670 0239.

Equity launches ambitious claim for Sub Rep deal union negotiating for improvements in pay, subsistence and touring allowance rates Equity has launched an ambitious claim for a new subsidised repertory (sub rep) agreement this year, after unprecedented consultation with members through focus groups, a survey and a working party of elected members and deputies with experience working in the field.

The agreement covers almost 80 of the largest publicly subsidised houses in the country, and is one of Equity’s oldest agreements – as the name suggests it was formed in the days of regional rep, and many of the terms and conditions have remained the same since then.

Following consultation, it’s clear that members’ priority was to tackle low wages in the sector, which have had only modest rises in recent years. There is a real

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Agreement covers almost 80 subsidised venues including Manchester’s Royal Exchange

concern that a failure to significantly improve rates of pay will narrow the diversity of talent and backgrounds that can enter the sector, which is currently considered to be pivotal both to the enrichment of theatre in the UK and to the UK’s ability to punch above its weight in the global culture market.

Equity is also proposing changes to improve the pension scheme, dramatically increase subsistence and touring allowance rates and to modify the structure whereby theatres are graded – to ensure minimum rates of pay offered represent not only the levels of public subsidy received and seating capacity (as is currently the case) but also references overall turnover.

Further updates are available from Paul Fleming on pfleming@equity.org.uk

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success stories

Members march in solidarity for Orlando Equity was out in force for London Pride in June.

Around 80 members marched together in solidarity for LGBT equality with more than a million people less than two weeks after 49 people were gunned down in a LGBT nightclub in Orlando. Those shocking events prompted huge interest from members and saw double the number take part compared to last year. Equity dance committee members Yukiko Masui and Gareth Mole danced their way along the entire length of the parade impressing everyone with their stamina and skill.

The Pride march followed the TUC LGBT Conference where Equity proposed a motion on standing up for and representing members in all their sexual and gender diversity. Equity LGBT Committee Member Amy Forrest put forward the motion.

Grants for actors’ children.

Support for actor-parents.

020 7636 7868 robert@tactactors.org

mental health support EQUITY, THE STAGE AND SPOTLIGHT HAVE JOINED TOGeTHER TO PROVIDE AN ONLINE RESOURCE FOR MENTAL HEALTH

Equity has partnered with BAPAM, Spotlight and The Stage to create a website designed to support members dealing with mental health issues.

This new resource: www.artsminds.co.uk has five main sections: health, career, relationships, finances and helping others.

Plus, on every page there is a ‘need help now’ button. It will also include a stories area that is full of interviews and news related to mental health and the entertainment industry.

This initiative was prompted by an increasing concern about the strain the entertainment industry can put on members’ mental health.

Within Equity, the East of Scotland and Bristol and West general It is full of branches have undertaken interviews and news valuable work to look at what is related to mental happening in their areas and health and the keep members informed about entertainment local support. Nationally, the industry than 5,000 people responded. union has been working The majority worked in theatre collaboratively with the British (81%) but TV and film also featured Association of Performing Arts strongly. A wide range of work areas were Medicine (BAPAM), Spotlight and The Stage also represented, such as music, dance and to look at the issue and see how we can modelling. Almost 85% of respondents had collectively support performers and creative worked within the past six months, busting practitioners. This work has come together under the ArtsMinds banner. A mental health the myth that people with mental health issues do not work.The main issues included survey was put out to members and more

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Develop Your Passion Apply now for the following programmes:

low self-esteem, perfectionism, performance anxiety, self-criticism, stress and depression.

Some 1,178 said mental health challenges had impacted on their career to a greater or lesser extent.

Meanwhile, at the Edinburgh Fringe, Sanctuary will provide a calm space on 19 and 26 August and Equity is running a session with the Edinburgh Samaritans.

• • • • • •

MA Ensemble Theatre MA Theatre for Young Audiences BA (Hons) Opera Studies (by online learning) BA (Hons) Theatre Studies (by online learning) Postgraduate Certificate in Learning and Teaching in HE: Theatre and Performing Arts (PGCLTHE) Summer Masterclasses

bruford.ac.uk Rose Bruford College of Theatre & Performance, Lamorbey Park, Sidcup, Kent, DA15 9DF.

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Rose Bruford College MA Ensemble Theatre with Bral School of Acting.

Photo: mateusz.bral@gmail.com

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campaign

Play fair The union’s four equalities committees have joined together to support Equity’s new campaign to increase diversity and equality in our industry Photography Paul Stuart for Equity

From left to right: Somi De Souza Vice Chair, Minority Ethnic Members Committee.

Phoebe Kemp, Chair, Deaf and Disabled Members Committee. Giovanni Bienne, Chair, LGBT Committee.

Flip Webster Chair, Women’s Committee

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campaign

Somi De Souza Vice Chair, Minority Ethnic Members Committee

Chair, Deaf and Disabled Members Committee

“What we see is what we think.” Recently, I’ve noticed a wave of documentaries/dramas on TV dedicated to race-sensationalisation for entertainment. Seven documentaries on immigrants, seven documentaries on Muslims, three drama/comedies dedicated to isolated Muslim communities. Mainstream theatre also typically only casts actors of colour in plays where race is the central theme.

It’s therefore unsurprising in my view that the racist anti-immigration Leave campaign gathered such momentum. This did not happen in a vacuum.

Now more than ever culture has a vital role to play in neutralising the frightening effects of the racist campaign, which has led to a surge of racist abuse on our streets, and we must continue to examine the impact of portrayal in the world of stage and screen.

Casting must become inclusive and incidental, allowing actors of colour to play any characters rather than predominantly race stereotypes as is current convention, otherwise immigrants and people of colour will always be seen as ‘the other’ and victims of racist politics.

We’re told “Things can’t change overnight.” However, Britain just did. If a country can, surely our industry can too.

“Getting into the room” is an issue often talked about regarding diversity in casting. When it comes to our Deaf and Disabled Members, this is often literally impossible. I cannot count the amount of stories I have heard of people required to audition in the street outside audition rooms, let alone the number of auditions that do not go ahead. On top of this, many theatres do not have accessible back stages – narrow spaces, steps, uneven floors and unreliable hearing loops are all massive physical barriers to our members. This means so many talented performers are excluded from projects before they have even begun.

Our recent motion, passed unanimously at Equity’s annual conference, is a first step to countering this. A professionally audited database, considering the variety of access needs of our members, will make it much, much simpler for casting directors to meet our actors and see the breadth of talent that they are missing out on. Hopefully, this can be followed by similar databases of venues and rehearsal spaces. Physical barriers are one of the most disabling issues in our society. By removing those we can begin to offer a real equality of opportunity to our Deaf and Disabled Members.

Play Fair is Equity’s new campaign to challenge the industry on the persistent under-representation of diversity and discriminatory practices in the casting process.

The systemic lack of diversity across the arts is one of the biggest challenges it faces, and one that has been steadily rising up the agenda of artistic leaders – and not just that of trade unions and campaigners.

Yet the issue remains too much a ‘debate’ that is discussed repetitively. Campaigners – new and old – have been campaigning collectively on these issues for decades and are increasingly frustrated by the lack of visible change and want to see those artistic leaders do more and talk less.

Play Fair seeks to highlight Equity’s Inclusive Casting Policy Statement, which was reviewed last year, led by the Minority Ethnic Members Committee and which now sets out the union’s clear position on inclusive casting and is a call to action to the industry to make good on their commitments.

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Phoebe Kemp

autumn 2016

This is not the first time Equity has raised these issues. The union has a long and proud history in this area. Indeed, Equity first coined the phrase ‘integrated casting’ in 1967 and almost 50 years on, it remains one of the union’s chief concerns.

Why? Because the lack of diversity in our industry is an industrial issue. Despite the lack of data available, we know that only around one in three performers is female, compared to 50% of our members and 51% of the population. As a result women have significantly fewer working opportunities – and that’s just not fair. Black and minority ethnic, disabled and LGBT members all face similar barriers to accessing work.

But it’s not just about representation – it’s also about portrayal.

Our members routinely report that who they are limits who they are allowed to play – that they will only be considered for those roles where their background is relevant – and that’s not fair.

It’s also about authenticity – for example, disabled members have long been concerned at the long-standing trend we all see

where non-disabled actors are cast in roles where the character has a disability – and that’s not fair.

We believe that employers should: Play Fair on incidental casting – we believe that greater incidental casting – where the background of the actor is incidental to the character – would result in much greater diversity across the board

often cannot even get through the door.

Play Fair and monitor – we campaigned for employers to start collecting information systematically on the diversity of performers on stage and screen. This is crucial if we are able to measure any change.

We will use the campaign to:

Play Fair with the law – our members regularly tell us about breaches of equality law during the casting process as a matter of course. For example, members are routinely asked about their personal characteristics at auditions, which is counter to government guidelines.

Promote inclusive casting with employers and celebrate great examples of inclusive casting Challenge poor practices in the casting process Raise awareness through the wider industry about its legal duties Reflect our position through Equity contracts as and when they are renegotiated

Play Fair on accessibility – too little thought is given to the accessibility of the casting process where disabled members

Get involved in the campaign: Turn overleaf to read about the history of Equity’s work in this area and access further resources

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campaign

Giovanni Bienne

Flip Webster

Chair, LGBT Committee

Chair, Women’s Committee

LGBT actors often hear that the industry is “full of them” (based on anecdotal evidence to date) and it’s assumed they are accepted. While this is certainly mostly true on an interpersonal level, it is most definitely not when it comes to employability.

An Equity survey has shown that almost 60% of LGBT actors were not out to their agent. They are also told that as their particular minority status is not always readily identifiable (a problematic statement at best) and thus less tangible, they have more flexibility. The fact that LGBT actors’ agents can urge them to “stay in character” during the pre-/post-audition chat, because casting directors had expressed doubts as to whether LGBT actors could keep “it” up, would seem to fly in the face of that. This is something that would never happen to a heterosexual actor playing an LGBT character. Ironically, being out and LGBT would appear to be a drawback even when playing LGBT parts: out of 50 Oscar-nominated LGBT roles, only one nominee was an out LGBT actor. Considering that only eight out of 126 studio films released in 2015 actually featured an LGBT character instrumental to the plot, but where sexuality or gender identity was incidental, employment is clearly being affected.

Ageism is endemic in our society. There is an unconscious bias at work and the stereotypes we see on our screens bear this out.

Playing age is the accepted criteria in our industry for perfomers. The Equity/IPA form at castings provides sufficient information to employers, but we are usually presented with another form asking for age and other inappropriate information such as marital status, whether you or your partner is pregnant, bankruptcy history, or criminal convictions.

These are illegal questions and employers must be clear about this.

Two adverts from the Spotlight feed for musicals featuring female characters over 60 gave an upper age for casting of 55.

This is an example of discrimination.

We need to see accurate data from employers and productions about the age and gender of performers, so that we can monitor ageism and identify levels of gender and age diversity on stage, screen, the airwaves and online.

Employers must also be alert to sexism and sexual harassment, which are still common and frequently under-reported.

While the law may not demand gender equality of casting, more diversity of women in terms of age gives a more accurate representation of real life, and makes programmes better, using an array of diverse talent.

A brief history of Equity’s equalities work Equity has fought for equality and diversity for many years, here are some examples 1956: The Equity Council instructs member not to accept work with any South African theatre company operating a colour bar unless some performances are in front of multi-racial audiences.

1963: The Equity Council issues an instruction to members not to work in front of segregated audiences.

1967: The first report of the Equity Coloured Artists’ Advisory Committee, this includes the first use of the term “integrated casting”.

1973: A demonstration outside the BBC opposed the casting of white performers in parts written as Asian without any

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attempt to cast Asian performers.

1974: The Equity Council refuses to change BBC and ITV agreements to allow the sale of TV programmes to South Africa.

1976: Three claims taken by Equity under the Equal Pay Act, which came into force the year before, are successful. Equity Womens’ Committee established.

1984: The Independent Theatre Council is the first employers’ body to agree the introduction of an equal opportunities clause into the union’s industrial agreement. Other employers soon follow.

1984: Equity holds its first conference on integrated casting. The Equity Disabled Performers Committee is set up.

1992: The first register of disabled artists is published by Equity.

1997: Equity and 1 in 8 organise the Moving On forum to challenge the perception that disabled performers can only play parts written as disabled.

2002: Equity backs the Eclipse Report on combating racism in theatre and monitoring forms drafted by Equity go to every English theatre.

2005: Equity campaigns on the issue of dwindling work for older women in entertainment.

2014: After years of campaigning by Equity, Arts Council England and the major broadcasters agree to introduce equality and diversity monitoring of actors.

2015: Equity launches Count Me In, a campaign to encourage members to complete equality and diversity monitoring forms.

www.equity.org.uk

Play Fair campaigns and offers support Play Fair will challenge the industry on under-representation of diversity and discriminatory practices in the casting process. It will also draw together all of the union’s work in this area so Play Fair’s website will include advice and resources. We also want members to share examples of good practice. For example, the latest TV series of Boy Meets Girl where a lead transgender character is played by a transgender actress and a disabled performer was cast in an incidental role without reference to her disability.

Find out more at www.equity.org.uk/playfair

pl y air

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Member offers

you’re in need IfIfyou’re needofyou assistance, in can get helpget from touch with people who people who understand. understand.

The RBBF Call us on

Equity membership entitles you to a wide variety of discounts, from photos to the Phoenix club; see below for a selection. Go online for a full list: www.equity.org.uk/discounts alexander technique Individual lessons at Gilbert Street, Nr Bond St, London. 30% discount to members. Twenty-six years of teaching performers; supporting improved poise and confidence, preventing backache and vocal strain. For info phone Kate Kelly 0845 3479389 www.alexandertec.net

assist taxation services Assistance with the preparation and submission of self-assessment tax returns for Equity members who are required by HM Revenue & Customs to submit a return. Equity members receive an exclusive 20% discount off the normal fixed fee of £250. A further 10% discount is available to members for referrals. We also offer self-employed accounts preparation and tax advisory and planning services. For further details please contact Nasir Majeed on 07775 691009, email nasir@assisttaxationservices.co.uk

cinema tickets Discounted tickets when showing Equity card: Queens FilmTheatre Belfast, Pictureville Bradford, Watershed Bristol, Cinema 3 Canterbury, Chichester Cinema at New Park, Robert Burns Centre Film Theatre Dumfries, Edinburgh Filmhouse, Hull Screen, Adam Smith Theatre Kirkcaldy, Showroom Sheffield, NFT.

dance studios £60 off Pineapple Studios Annual Membership.

Equity members get £60 off annual membership to Pineapple Dance Studios in Covent Garden, London (usually costs £160). Additional benefits of membership include 25% off all full-price clothing at the Pineapple store opposite the studio in Covent Garden. Members can visit the studios at any time for classes or to meet friends and colleagues. Two passport size photographs are required. Claim in person with your Equity card at Pineapple Dance Studios, 7 Langley Street, London WC2H 9JA. Tel 020 7836 4004. www.pineapple.uk.com

hair removal Pulsar-permanent hair removal and skin treatments. Pigmentation, spots, photorejuvenation and more. IPL-intense pulsed light therapy. More advanced than laser: never shave again. For men and women – all skin and hair types. 10-20% discount for Equity members.

Minimum fee applies to house visits.

Contact Dr Succar on 020 8848 8288 or www.natura.org.uk

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michael barnes hairdressing Equity members get 40% off all cutting and colouring on your first visit to the salon and then you will receive 20% off all services whenever you visit after that. Michael Barnes is located at 224 Shaftesbury Avenue, London, 020 7836 7152.

parking Equity and Q-Park have teamed up to provide Equity members with discounted parking in London and other major cities.

More cities will come on-stream as Q-Park rolls out its development programme, so if the city you want is not yet listed, do please check regularly. The rates represent a 15% discount across the day with a special flat rate of £6.00 for London parking from 6pm to 2am. To take advantage of the Equity discount you need to pre-book your parking. Follow this link to do this: www.equity.org.uk/parking

photography HCK Photography is offering Equity members headshots/publicity shots for £95, a saving of £155. . For more information contact Kit at: 020 7112 8499. www.hckphotography.co.uk/equityoffer Scotland-based photographer Aly Wight is offering a 10% discount off headshots and location shots to members, see www.alywight.com

Special offer

phoenix artist club Save 50% on annual membership. A private members’ club and licensed bar for professionals in the entertainment industry and their guests, open Mon-Sat 11am-2.30am (last entry 1am) with hot food served until 11pm. Entertaining entertainers since the nineties, this hidden gem, once visited, is never forgotten. Annual membership is £120 reduced to £60 on presentation of your paid-up Equity card. Please visit the club during opening hours to apply.

Located beneath the Phoenix Theatre, 1 Phoenix Street, Charing Cross Road, London WC2H 8BU. Tel 020 7836 1077, website: www.phoenixartistclub.com

• Entertainment industry specialists • New client discount for Equity members • Free initial chat

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rex restaurants Chris Corbin and Jeremy King are keen supporters of the theatre and they have arranged for all members to receive 10% off any bill at their London restaurants. These are: The Wolseley, The Delaunay, The Counter at The Delaunay, Brasserie Zédel and Colbert.

See the Rex Restaurant website: www.rexra.com. for details of the different eateries. The offer is for an Equity member and up to five guests (i.e. six people in total). You need to show a valid Equity card as proof when you arrive at the restaurant.

stage newspaper

Travelodge offer a 5% discount on bookings through their Business Account Service and they have agreed to extend this to Equity members.

To register for this and set up an account, members need to phone Lauren Lisgo on 01844 358604, quoting Equity as their company name.

This will then allow members to have access to the same corporate deal that Travelodge currently run. Lauren will provide details to individual callers.

supports dancers and

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Equity members can have 10 per cent off an annual subscription. This is available to all Equity members on both print and digital editions. To take advantage of this discount go to http://subscriptions.thestage.co.uk and select the version you require. Remember to include the code EQUI in the Promotional Code box.

please note: Equity does not endorse the third-party services provided in these membership offers. They are made available on the request of the vendors.

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campaigns

PMPP has attracted the support of high profile Equity members such as Julie Walters (left) and David Morrissey (right) who are concerned about the access to opportunity for those from a low-income background. Leading support from employers has come from Matthew Parker, Hope Theatre, (left) and Adam Spreadbury-Maher from the King’s Head Theatre (above)

PROFESSIONALLY MADE campaign delivers £1m in FRInGE THEATRE PAY

Supporting you wherever you work

The Professionally Made Professionally Paid campaign was set up to combat low and no pay in the industry and has been an unqualified success. More than £1m has been generated by the initiative but the campaign remains relevant as we enter an uncertain future for the arts Launched in January 2015, Professionally Made Professionally Paid (PMPP) is Equity’s campaign to tackle low and no pay in the entertainment industry.

While the campaign covers all areas of work where low and no pay are prevalent, fringe theatre has been a particular focus. Equity has been promoting the updated Fringe Agreement – a simple, realistic contract that guarantees pay of at least the legal minimum for performers and stage managers in small-scale, unfunded productions.

Since the launch of the campaign, 168 productions have used the Fringe Agreement, employing 800 performers and stage managers.

More than 100 production companies have been involved in these shows using the Equity Fringe Agreement.

Since the launch of the campaign more than £1m in wages have been paid to performers and stage managers working on Professionally Made Professionally Paid fringe theatre productions.

Equity’s low pay and no pay organiser, Emmanuel de Lange, said: “Professionally Made Professionally Paid is developing a culture of fair pay and responsible producing in fringe theatre. When we launched the campaign, Equity’s pay survey reported that nearly half of members were earning less than £5,000 a year from their professional work, so the hundreds of thousands of pounds we have seen coming into the sector will make a real difference.

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“We are very concerned about access to the industry. Fringe theatre is the training ground for actors in this country, but the financial pressures of the profit share and no pay culture can make it impossible for young actors to break through. I sincerely hope that Professionally Made Professionally Paid is helping to make the industry more socially diverse and successful.”

The Professionally Made Professionally Paid campaign has also dramatically increased the representation and support available to Equity members working on small-scale productions.

More than 150 Equity meetings have taken place with companies working in fringe theatre, attended by more than 1,100 theatre workers.

Equity members should remember that the union is here to support you wherever you are working, whether or not it’s on an Equity contract. While an Equity contract will guarantee you decent terms and conditions, you have rights whatever contract you are working on and should not hesitate to contact us if there is a problem.

Since the launch of the campaign Equity has supported members in fringe theatre: Recovered unpaid wages Ensured a safe and healthy working environment Resolved unfair profit share arrangements Ensured breaks and working time regulations are respected

You can help make the campaign a success

Fringe theatre is the training ground for many actors, but the financial pressures of the no pay culture can make it impossible for young actors to break through” www.equity.org.uk

Every Equity member can help to ensure Professionally Made Professionally Paid continues to improve terms and conditions in our industry.

Spread the word about the campaign, talk about it with colleagues, follow @EquityLPNP for updates, using #MadeAndPaid to post messages and visit the website at www.equity.org.uk/made&paid Want to turn down a job offer because of low or no pay? Use our template letter on the website to encourage the producer to sign up to the campaign Know someone who is thinking of producing a fringe or low budget show? Enocurage them to contact Equity to get advice on their contracts If you are working on a low or no pay production use our confidential online monitoring form to let us know the production’s details.

Awards follow PMPP deal Shows that use the PMPP Fringe Agreement are consistently getting nominated for, and winning, prestigious industry awards. Matthew Parker, artistic director at the Hope Theatre in Islington, believes that using the Equity Fringe Agreement played a big part in winning two Off West End awards, including Best Supporting Male Actor, earlier this year for their first in-house production Lovesong of the Electric Bear,. He says: “The award recognition really helps put the Hope on the theatrical map and is testament to the quality of actors we are able to attract thanks to our Equity agreement. All shows at the Hope this year have garnered five star reviews and are achieving sold out performances. The quality of what we are able to deliver at The Hope is thanks to our Equity agreement and the support and recognition this agreement brings us within the industry, especially with actors and their agents.” Their second in-house show Sea Life has just been nominated for four more Off West End awards.

Further success includes the King’s Head Theatre nominated for Best Off West End Production for Shock Treatment at the What’s On Stage awards in 2015, while Jermyn Street Theatre was nominated for the Evening Standard Awards’ Best Actress for Eileen Atkins in Beckett’s All That Fall. All of the cast and creatives on these shows were employed on the Equity Fringe Agreement.

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conference report

Back to the future

Opposite page: Tony Robinson, an Equity member for 54 years and former vice president, recalled the many battles for justice during his time. From left to right: General Secretary Christine Payne, President Malcolm Sinclair, Bertie Carvel and Victoria Amedume

Equity’s annual conference, the forum where the union’s policy is set, celebrated the past achievements of members and, inspired by their example, set targets for a fairer industry Photography Phil Adams

E

quity’s conference took place in Bristol for the first time in its history over the weekend of 22-24 May and discussed a huge variety of issues that affect Equity members.

These included the unfairness of the casting process, such as the inaccessibility of some casting venues; charges for dance and drama school auditions; the lack of diversity in the industry; and support for parents and other carers working in entertainment.

See the full list of the motions that were agreed overleaf.

General Secretary Christine Payne opened the conference. She discussed the success of the union’s pension scheme and the £14m recently recovered from the Hollywood Studios (see page 10). She then outlined the new Play Fair campaign (page 14), which was an appropriate introduction for the first motions which concerned Equality and Diversity.

The first speaker was

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www.equity.org.uk

Sophie Partridge who put forward a motion about combatting the lack of access to casting venues for deaf and disabled members. She said: “Problems continue to arise with access, such as lifts that are too small for wheelchairs, lack of accessible toilets and less obvious barriers such as no hearing loops.”

The motion was seconded by David Cockayne and carried unanimously.

Somi De Souza and Martina Laird spoke passionately in favour of inclusive casting policies, particularly because of the problem of incidental casting. Somi said: “When someone like myself is only played as part of a race then it makes me feel like I am not a part of mainstream society. The real world has changed and our world of make believe should catch up.”

The motion on emphasising inclusive casting in the union’s contract negotiations and in discussions with industry bodies was carried unanimously.

Issues concerning live

performance began the conference’s second day. A proposal to press Arts Council England (ACE) to fund opera properly was put by opera deputies’ committee member and English National Opera (ENO) singer David Campbell.

He thanked the union for its support during the recent dispute with the ENO and said: “At a time when arts and culture play a vital role, arguably more than ever before, we urge ACE to maximise their support for all opera companies to preserve the high artistic standard to which we all aspire and to enable access to opera for the many and not just for the privileged few.”

This received the full support of the conference. A significant motion from the variety sector also garnered unanimous support from delegates. This concerned the wish to dedicate 2017 as the Year of Variety.

Proposer Sally Treble said it would be a celebration of the 110th anniversary of the Variety Artistes’ Federation and mark 50 years since the group was incorporated into Equity. She added: “It will give Variety artists an impetus

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conference report

Left, guest speaker Thangam Debbonaire, Member of Parliament for Bristol West.

Opposite, Councillor Mary Lane and Tony Robinson receive their Honorary Life Membership awards. This is the highest honour the union can bestow and recognises outstanding service to Equity

to say ‘This is why I am in Equity’ and help us address today’s issues and start looking at the problems of the future.”

Victoria Amedume, who was attending her first Equity conference, agreed with the proposal and wanted the circus sector to be part of the celebrations. She said: “Circus is one of the fastest growing areas of membership, but it has a low profile within the union. There is a huge, young, fresh membership that wants to engage, that are joining Equity, mainly because it provides insurance, but they are not engaging with Equity – this initiative is a good start.”

Further proposals that got the backing of Equity members included motions on drama school audition fees by the Oxford General branch and help

Members decide direction of the union here is the complete list of motions carried at Equity’s 2016 Conference Deaf and Disabled Members Committee called on Equity to promote accessible casting spaces and put pressure on those that are not currently accessible. This will be done by establishing a national database of professionally audited venues.

Minority Ethnic Members Committee asked Equity to promote Equity’s policy on inclusive casting in its contract negotiations and discussions with industry bodies.

North West London General Branch requested increased proactivity from all Equity staff and members towards achieving gender equality on behalf of the membership and more visible inclusion of this issue in Equity’s public statements.

Opera Deputies Committee and Singers Committee asked Equity to press Arts Council England to fund opera properly so that it can develop its full potential and attract new audiences.

Northern Ireland General Branch requested the union communicate to members and external organisations members’ rights and entitlements when working in theatre.

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West End Deputies Committee called upon Equity to investigate the extent of the problem of the requirement to learn large amounts of new material in a short time frame before auditions/castings.

Northern Ireland Annual General Meeting asked Equity to ensure that, when two or more companies’ co-produce, salaries are maintained throughout the entire job and not according to the lowest salary grade.

Central England General Branch requested the union to encourage people booking touring shows to insist on the use of Equity contracts.

North East Variety Branch asked the union to oppose the implementation of Public Space Protection Orders.

Variety, Circus and Entertainers Committee requested the union designate 2017 the year of Variety, Circus and Entertainment.

North and West Yorkshire Variety Branch requested more prominent presence of variety issues in the Journal and website.

for parents working in the entertainment industry, proposed by northern area annual general meeting and the stage committee.

Sheila Jones, from the Liverpool and district general branch, felt that drama school audition fees were putting up a barrier to talent. She said: “Only the well-off can afford to choose which schools they want to go to. It’s absolutely shocking.” The union has subsequently agreed to carry out an audit of the charges levied for auditions by drama schools across the UK to evaluate the scale of the problem.

Jackie Clune spoke to the stage committee’s proposal on parenting, which said: “It should not be the case that working in the arts should preclude anyone from parenting or caring responsibilities by dint of outmoded and

Screen and New Media Committee asked Equity to consider how it can advise members who lose earnings as a result of the union not taking cases outside the legal jurisdiction of the UK.

Women’s Committee urged Equity to agree that one equality observer is added to each of the industrial committees.

Stage Committee called on Equity to produce information to explain the workings of the union.

Devon and Cornwall General Branch requested the union consider authorising branches to nominate one representative to each local TUC and to reclaim basic expenses from Equity.

South West Area Annual General Meeting called upon Equity to make arrangements to provide branches with a non-identifiable audit of the skills base of branch members on demand, but no more frequently than every six months.

Dorset General Branch called upon Equity to consider amending branch rules to allow them to use video calling for when members are participating in meetings.

The Council made a number of changes to the rules including the procedure for complaints.

East Anglia Variety Branch requested the union’s communications expenses are reviewed and a report created.

Stage Management Committee asked Equity to approve the creation of standard accommodation paperwork to be made available to all venues via the Equity website.

Greater Manchester and Region General Branch urged the union to establish an on-going list of current policies.

West of England Variety Branch asked the union to negotiate with motor insurance suppliers for preferential rates for members.

Liverpool and District General Branch requested Equity put pressure on all programme makers and broadcasters to actively seek out new talent.

West and South West London General Branch urged Equity to fund an ongoing research project to identify the actors BBC employed and the agents they were with.

Northern Ireland National Committee asked the union to call on ITV nationally to redress the years of under investment by having UTV produce and commission drama and entertainment content in Northern Ireland.

www.equity.org.uk

often blinkered practices. Simple changes in working practices can enable members at work to plan and fulfil their caring responsibilities more easily.”

The conference also holds events apart from the main business, such as the Open Space session, which is a lively discussion forum open to all, a student workshop (on the Professionally Made Professionally Paid campaign) and fringe events such as a session on the union’s new approach to integrated casting.

As the conference closed on Monday Equity President Malcolm Sinclair gave thanks to all the delegates, but particularly praised those from the South West area who made the event in Bristol so welcoming and put on a fantastic show on Sunday evening.

The next ARC is in London, May 2017

Scottish Annual General Meeting requested that pressure be brought to establish increased BBC production spend outside of the M25 area.

Welsh National Committee asked Equity to consider giving authority to National Committees and local branches to organise general hustings for all elections.

Northern Area Annual General Meeting asked the union to improve advice to theatres when it comes to supporting parents in touring productions.

Oxford General Branch requested the union carry out an audit of dance and drama school audition fees.

Stage Committee called on Equity to ensure that employers understand the benefits that improved work scheduling can bring when caring responsibilities are addressed in an understanding manner.

Screen and New Media Committee requested the union work with casters on a self-taping agreement.

Young Members Committee asked Equity to endeavour to ensure that all branches and committees develop a programme of events for TUC Young Workers’ Month.

Scottish National Committee called on the union to continue to update members on tax and national insurance changes.

Dance Committee requested the union consider an audit of those who have received public funding from the UK arts councils for the purpose of investigating whether the councils’ policies on pay are being applied in practice.

Directors and Designers Committee asked Equity to consider forming a working party with the PMA and the CPMA to discuss a code of practice for agents.

North Lancashire and Cumbria General Branch requested the union work with the ACE to ensure the funding gap between London and the regions does not widen.

Kent General Branch called on the Equity to campaign for all professional performing arts training courses to take note of and fulfil their health and safety obligations.

London Annual General Meeting requested a strategy to increase the number of producers using Equity agreements.

North and East London General Branch called upon Equity to investigate the consequences of a Brexit on our members and the UK cultural sector and, dependent on the results, devise an information and lobbying campaign.

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In appreciation

Helen Lambert Helen was a former vice president of equity and worked as an actress in drama, comedy and musical theatre.

Her friend Yvonne Joseph recalls her great sense of humour and the work she did on behalf of members

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H

elen Lambert was a vibrant and accomplished actress, her work spanning a long and successful career.

In her early career Helen proved she was equally happy working in drama, comedy and musical theatre. She had a very industrious and hard-working personality. In 1962 she played the red-haired prostitute in the tour of ‘Fings Ain’t What They Used To Be’, while also being the representative of the Catholic Stage Guild and the Equity Deputy. When the tour reached Manchester we were in digs together and she introduced me to Geremy Phillips, who was also a member of the cast of ‘Fings’.

Helen thought he would work well with me in my Variety act. The act was successful and I later married Geremy.

Helen called the introduction her double success.

Helen went on to tour with many productions as her reputation became established. When she was in pantomime in Sunderland a fellow cast member was

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Helen encouraged all cast members to join Equity.

She was never afraid to confront an employer and selflessly represented any member with problems” involved in an accident causing injury. Helen was the one who came to her aid and offered her support. Indeed, this was just one example of Helen being very caring and supportive of members of the profession. She introduced me to the Nell Gwynn club, in the crypt of St. Martin in the Fields Church. This club was a meeting place for members of the profession and everyone there knew Helen.

Not many people knew that Helen formed a cabaret act in the late 1960s which she said would help her to never be ‘resting’. With her usual professional attitude the act was well presented and proved successful but Helen never included this in her CV as she did not want it to affect her work as an actress. Indeed, Helen’s work in television continued with credits such as Comedy Playhouse, The Flaxton Boys, Are You Being Served, The Dick Emery Show, The Lady Vanishes, The Two Ronnies, Uncle Jack and Operation Green, London’s Burning, League Of

Gentlemen, etc. I worked with her on League Of Gentlemen and she retained the sense of humour which made the days seem to pass so quickly and easily.

Helen was always a strong supporter of Equity and in the 1970s she joined a group called Act For Equity and, with them, she served on the Equity Council until 1998, becoming vice-president in 1992. Her sense of fairness made her a great asset to the union. Helen encouraged all cast members to join Equity long after the demise of the closed shop. She was never afraid to confront an employer and selflessly represented any member with problems.

We send condolences to her partner Ray. Helen Lambert will be remembered as a talented and professional actress, a caring person, a fun friend and a great Equity supporter.

The In Appreciation page reflects on the contribution made by members who have served on the Equity Council.

12/09/2012 11:50

Was established in 1968 to provide financial support for members of the theatrical and concert professions who are in need of rest, recovery or a recuperative holiday.

If you’ve recently suffered an illness, or needed medical treatment and think a short convalescent break would aid recovery, or if you’ve been suffering from ill health and need to ‘recharge your batteries’ then you should apply for funding.

For information on how to apply you can either contact info@equitycharitabletrust.org.uk. ring us on 0207 831 1926 or visit our website www.equitycharitabletrust.org.uk where you can follow the link to the Evelyn Norris Trust and download an application.

www.equitycharitabletrust.org.uk

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www.equity.org.uk

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Letters...

the president writes

Brexit. Equity thought it a bad idea, but the country, by an extremely modest majority, decided otherwise.

We now have a new prime minister, a new foreign secretary called Boris and a Labour Party imploding before our astonished eyes.

At times such as this I’m very glad Equity is unattached to any political party, for fear we might be dragged into the mess.

the knowledge that they can employ us easily and efficiently.

That is all threatened.

What damage is done to the general economy remains to be seen; already the value of any savings we may have managed to accrue has diminished as the pound falls, and a recession beckons. This will obviously affect our industries like many others.

Perhaps now that Osborne has gone ‘austerity’ will be relaxed, we shall see.

In the midst of this self-inflicted turbulence, the need for a strong union has never been clearer.

As work in theatre, television and film becomes more uncertain, the temptation to cut corners in the working conditions of members will increase.

The BBC still needs protecting. Local government support for the arts will be even more under threat. We have to stick together, argue and plan on how best to thrive.

During this national upheaval we of course ran our own elections. Almost 4,500 of us took part, with the turnout 11% rather than the 12% in the previous election.

We’ve tried with hustings, video clips and social media to increase the number

In the midst of this self-inflicted turbulence the need for a strong union has never been clearer. As work in theatre, TV and film becomes uncertain we have to stick together, argue and plan on how best to thrive” Now I’m sure many members voted to leave the EU for the best of reasons, but the Council decided that Brexit would seriously damage our industry.

I see no reason for Council to change its view, although time will tell. The ability of UK actors, singers, directors, stage managers, dancers, designers to work anywhere in Europe is now threatened.

This work covers English-speaking theatres, musical tours, small scale tours, filming and TV work; American film and TV companies, including HBO, having taken advantage of the free movement of EU citizens to film all over Europe, which offers magnificent locations, in

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of members who take part, but without much success.

Of course, if we could all vote online so many more of us would get involved. We must continue to push the government to change the law to allow that.

But, to end on a much more positive note, we have got a very good Council; a mixture of age and youth, experience and fresh new energy, good gender balance, and finally a more diverse body, though we still have a way to go.

As some of us have been working very hard to achieve such a result, it’s good to realise that progress is possible.

Onwards.

Get in touch Have you got something to say about your experience of Equity or the contents of the magazine?

We want to hear from you.

Please email or write to the editor via the contact information below: The Editor Guild House Upper St Martin’s Lane London WC2H 9EG Tel: 020 7379 6000 Fax: 020 7379 7001 Email: editorial@equity.org.uk Web: www.equity.org.uk

London Recruits

London Recruits is the inspirational story of the young women and men who, in a plan orchestrated by ANC leader Oliver Tambo, undertook clandestine missions against apartheid.

Their activities struck at the heart of the regime when the internal struggle was at its lowest ebb. Kept secret for decades, this story is coming to the big screen.

Recruits came from the full spectrum of the labour movement including former Equity member Joy Leman. The filmmakers are working in collaboration with unions to ensure this significant chapter of history is told.

In solidarity with South Africans struggling under apartheid, Equity actors voiced support for a broadcast ban to South Africa. Others refused to work in the regime, lobbied for the release of

political prisoners, held plays and concerts in camaraderie and played their part in the broad movement which helped isolate apartheid.

This film celebrates the importance of internationalism, but needs support to complete production funding.

To find out more please visit: www.londonrecruits.com James Barrett London Recruits

Thanks to Annie Bright

Members scanning the list of candidates in the recent Equity Council elections may well have noticed the absence of a familiar name. After serving on the Council for a record 32 years, without a break, Annie Bright has decided to stand down.

Annie, a former vice president of Equity (2000-2002) and now an Honorary Life Member, enjoyed a long and successful career as a cabaret artiste and jazz singer, and was a leading light in the nine-year struggle to free live entertainment from the crippling effects of New Labour’s 2003 Licensing Act. Under this law, all live entertainment, however modest in scale, became illegal unless covered by a specific licence.

Even singing Happy Birthday around the pub piano could, theoretically, be a criminal act.

Equity and the Musicians’ Union saw it coming and, together, came close to nipping the whole nonsensical business in the bud at the TUC’s Brighton conference

in 2001. Annie was due to make a speech seconding an MU motion condemning the proposed legislation, but the motion was never reached. The date was September 11. The conference was abandoned.

The licensing of live entertainment was finally scrapped by Parliament in January 2012.

More recently, Annie was involved in setting up a petition to have a national Shakespeare Day officially adopted. It didn’t quite succeed – but Shakespeare’s birthday (23 April) does at least now appear in your Equity diary.

Annie performs very few jazz gigs now.

She concentrates instead on producing Shakespeare-themed concerts with her chamber choir, the Friends’ Musick, of which she is a founder member.

She remains a board member of the Equity Charitable Trust, and also of the Theatre Chaplaincy UK (TCUK), based at St Paul’s, Covent Garden – otherwise known as the Actors’ Church.

Dave Gelly

John Bull

There can be few actors working in the audio field who will not miss the larger than life presence of John Bull, who died so tragically a few weeks ago.

I have had the privilege of working with him for longer than I can remember in radio and ADR and as members of the Equity Audio Committee.

John worked tirelessly to improve working conditions in those areas and was

always quick to pick up and report when things went wrong. When they did his fuse was short but so was the anger and he was soon laughing at himself. “Darlings, you all know me!” Yes John, we certainly did and feel better for it!

Starting in the profession as a boy actor he was a splendid singer and musician and a joy to work with – and to drink with. But, above all, he was a wonderful husband to Jo, whom he cared for so devotedly for many years until her recent death. A lovely man; sound studios will be quieter and emptier without him.

Edward Kelsey

Credit squeezing

Who, I wonder, was the insensitive egotistical chump who thought it would be a brilliant idea to ‘squeeze’ the participants names when screen credits are run at the end of a show?

And is it chance that it is invariably the actors – for whom publicity is their life blood – who are squeezed?

I have nothing against wardrobe mistresses, grips or focus pullers; but why are they left unscathed while the actors names are casually obliterated?

Credit squeezing is no doubt as irritating to the audience as it is damaging to the actors. Can one hope that Equity, deploying its considerable strength against the unthinking broadcasters, may eventually kill off this indefensible practice?

David Crane

In memoriam With regret it is recorded that since the publication of the last edition of Equity magazine we have learned of the deaths of the following members: Caroline Aherne, Margaret Anderson, Brendan Bailey, Venetia Barrett, Richard Benbow, Lee Black, Michael Blythe, Annie Castledine, Graham Christopher, Carl Clayton, Mair Coleman, William James Cripps, Phyllis Curtin, Alan Devereux Dottie, Graeme Eton, Christopher Farries, Lewis Fiander, Yvonne Fisher, Neil Fraser, Alex Green, Gareth Gwenlan, Owen Holder, Barry Howard, Ted Ivin, Raymond James, Lois Kentish, Burt Kwouk, Helen Lambert, Vivien Lane, Ashton, Launcherley, Linda Laurenz, Marie Lindsay-Hogg, Stuart Luis, John Lynch,

Mary K MacLeod, Paul McDowell, Lesley Meade, Harold Melvin, Molly Molloy, Margaret Moncrieff, Elsie Morison, Barbara Morland, Mr Mudge, Cie Jay Munroe, Gordon Murray, Simon Pal, Michael Pearse, Mark Pollard, Joe Powell, Denzil Pugh, Richard Pugh, John Rapley, Francis Reid, Norman Robbins, Scarri, William Schallert, Penelope Sharp, Peter Shortall, David Siljan, Morag Siller, Simone Simone, Peggy Spencer, Trevor Steedman, Shelley Sutton, Frances Tanner, Jean Telfer, Jane Vass, Owen Wynne, Marianne Zeck

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

Malcolm Sinclair

www.equity.org.uk

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Branch update

Equity branches are your local meeting place to discuss the industry, share insights and influence the direction of the union.

Find your local branch at www.equity.org.uk/branches milton keynes general Date of next meeting: TBC Contact: mkanddistrict.equitybranch@gmail.com

northern ireland branch Date of next meeting: TBC Contact: Vicky Blades vickyblades@gmail.com

north lancashire & cumbria general Next meeting: 22 June, 7.30pm, Robert Gillow pub Contact: Peter Rylands peter.rylands@btinternet.com

ne of england general Date of next meeting: 1st Tuesday of each month (excl. Aug & Dec) 6.30pm Northern Stage Newcastle NE1 7RH Contact: Steve McGuire., sirstephen2001us@yahoo.co.uk

Southern comfort

north

South & SE London general branch invites you to their summer social

T

he South and South East London branch is a long-established and welcoming branch that meets at the Young Vic theatre on Saturdays.

Its stated aim is to: “Pool the talent and resources of actors, writers, directors, designers, singers, models, artists and producers and through our networking and club events to offer

brighton & sussex general Date of next meeting: first Saturday of the month,10.30am, Friends Meeting House, Ship St Brighton Contact: Chris Webb 07973 465154

bristol & west general Date of next meeting: Third Tuesday of month (exc August), 7.30pm. The Nova Scotia Pub, Bristol BS1 6XJ Contact: equity. bristolwestgen@googlemail.com

cardiff & s wales general Date of next meeting: First Thursday of month, 7.30pm. BBC Club Cardiff, CF5 2YQ Contact: Louisa stbbrown_morgan@hotmail.co.uk

central england general Date of next meeting: 13 Sept 7.30pm The Wellington Pub Birmingham, B2 5SN Contact: David Edgar: davidedgar@gmx.co.uk

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support, to open doors and to create possibilities.”

The branch hosts speakers on a regular basis and recently they have had visits from Gareth Brierley from People Show and Nadia Nadif from Untold Theatre. The branch’s motion to the recent Equity conference was remitted to Council for further consideration and

devon & cornwall general Next meeting: Third Sunday of the month at different venues around the two counties. Contact: Nigel Howells, howellsnj@gmail.com

dorset general Next meeting: Third Thursday of every month, 7pm. Wessex FM studios. Dorchester Contact: chris-gallarus@hotmail.co.uk

east of scotland general Next meeting: 7pm. 27 September Lyceum Theatre, Edinburgh Contact: Catriona Joss, eastofscotlandequity@gmail.com

essex general Date of next meeting: 3 September, 10.30am. Trinity Methodist, Chelmsford, CM1 2XB. Contact: essexequity@deemardi.com

concerned the creating of an Older Members’ Committee within the union’s democratic structure.

south & se london general Summer Social: Saturday 20 August, 13:30, Jubilee Gardens, Southbank.

Contact: Paul Valentine equitysselondon@gmail.com

gtr manchester & region Next meeting: TBC Contact: davidcockayne@hotmail.com

home counties west general Date of next meeting: 27 Sept, 7:30pm, South Hill Park Arts Centre, Bracknell RG12 7PA Contact: branch_sec_hcw@btinternet.com

isle of man general Next meeting: TBC Contact: colyn@colyn.co.uk

kent general Date of next meeting: 2 Sept at 4-6pm The Marlowe Hub , Marlowe Theatre Canterbury 35 Pound Lane CT1 2BZ Contact: Marie Kelly 07703 207878, kellygreenproductions@hotmail.co.uk

& east london general

Next meeting: every second Saturday of the month at 10:30am: The Park Theatre, Finsbury Park. (not August) Contact: Nicola Hawkins nel. equity@gmail.com

north west london general Date of next meeting: The first Saturday of the month, 10.30am, Central School of Speech and Drama 62-64 Eton Avenue, London NW3 3HY Contact: Elise Harris, eliseharris@gmail.com

oxford general Date of next meeting: 19 Sept 7pm Oxford Playhouse Contact: secretary.oxfordequity@gmail.com

west & sw london general Next meeting: Weds, 28 Sept 7-9.30pm at CAA, 20 Bedford St, WC2E 9HP Contact: secretary. equity.wswlon@gmail.com

liverpool general Next meeting: Wednesday, 7 September, 6.30pm Everyman Theatre Contact: Sheila Jones, equityliverpool@gmail.com

yorkshire ridings general Next meeting: TBC Contact: Anthony Blakesley equity.yrgb@gmail.com

blackpool variety Date of next meeting: 1st Tuesday of each month, 1pm, Blackpool Cricket Club, Stanley Park, FY3 9EQ Contact: Chris Cotton, 07941 550315

coventry & leicester variety Date of next meeting: Monday,19 Sept, Broad Street Rugby Club, Brandon Road Coventry CV3 2AY Contact: Sheila Payne: sheila.rodgers@btinternet.com

www.equity.org.uk

n&w yorkshire variety

east anglia variety Next meeting: 8 Aug , 8pm, The Canary Club Norwich NR1 1RT Contact: peachymead@f2s.com

east midlands variety Date of next meeting: 6 Sept, Headstocks NG6 8SF Contact: jimmywillan@btinternet.com 0115 9725558

humberside variety branch Date of next meeting: 5 Sept. 7.30pm.

Henry Vernone Court, Pier Street, Hull. HU1 1UZ. Contact: Christie Clifford, equityvbn4@msn.com

manchester & district variety Date of next meeting: 16 August at Monroe’s Hotel, Manchester M1 1PE, 7.30pm.. Contact: Yvonne Joseph, vonniegerry@btinternet.com

merseyside variety

Date of next meeting: Every third Monday at 7.30pm at George IV pub, Birkenshaw BD11 2AH Contact: Valerie Jean Mann, val@mrstipsy.co.uk, 0113 285 3848

scottish variety Date of next meeting: TBC Contact: Linda Rifkind, l.rifkind@btinternet.com

south wales variety Date of next meeting: first Tuesday of every monthTyn y Twr Public House, Baglan, SA12 8AU, 7.30 Contact: Shelli Dawn, 01685 812779

south yorkshire variety Next meeting: TBC Contact: chuffinells@ hotmail.com

thames variety branch

Date of next meeting: Second Monday of month, 7pm, Adelphi Hotel Ranelagh St, Liverpool, Merseyside L3 5UL Contact: Les O’Neill, lesoneill@hotmail.com

ne of england variety Date of meeting: 7.30pm, last Tuesday of month, The Alberta Social Club, Jarrow. Contact Steve McGuire.

01207238258, sirstephen2001us@yahoo.co.uk

Date of next meeting: 12 Sept. 7pm, The Blue Posts, 81 Newman Street, W1T 3ET. Contact: Nick Putz 020 8808 3802 nickputz@gmail.com

west of england variety Date of meeting: 12 Sept, Inn on the Green Contact Mary Lane cllrmlane@equity.org.uk 07900 848003

Brummie love Birmingham Variety Branch has a growing membership and welcomes members to its lively meetings

T

he Birmingham Variety branch is a friendly branch that holds regular meetings at the Crescent Theatre in Sheepcote Street.

It is currently enjoying a surge in membership and would like to welcome local Equity members along to its lively meetings. Recent speakers included Tom Rogers, a soloist with Birmingham Royal Ballet.

He gave a fascinating speech about growing up in Birmingham and becoming a soloist in 2012.

birmingham variety Date of next meeting: Wednesday 28 September 2016 at 7.30 p.m, The Crescent Theatre Birmingham B16 8AE. Contact: alec@alecpowell.co.uk

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Contact Equity

Subscription enquiries 020 7670 0207 Live performance Help desk 020 7670 0237 Recorded Media help desk 020 7670 0228

Advice and rights helpline 020 7670 0223 Bullying reporting line 020 7670 0268 British Equity Collecting society 020 7670 0350

HEAD OFFICE: Guild house, Upper St Martin’s Lane, London WC2H 9EG Tel: 020 7379 6000 Fax: 020 7379 7001 Email: info@equity.org.uk Web: www.equity.org.uk EQUITY OFFICERS: Malcolm Sinclair: President Ian Barritt: Vice President Charlotte Cornwell: Vice President Bryn Evans: Honorary Treasurer EQUITY STAFF Telephone: To call a member of Equity’s head office dial 020 7379 6000 and at the prompt press the asterix and dial the three figure extension in brackets after the relevant name below.

Email: To email a member of Equity’s head office type the initial and surname in lower case with no spaces followed by @equity.org.uk GENERAL SECRETARY’S Dept (fax 020 7379 6074) Christine Payne General Secretary (155) Louise McMullan Department head, Policy Development Officer

& Assistant to General Secretary (160) Duncan Smith Head of Finance (130) Hamida Ali Equalities & Diversity Organiser (173) Stephen Spence

Assistant General Secretary, Industrial and Organising (133)

LIVE PERFORMANCE Hilary Hadley Mike Day Virginia Wilde Paul Fleming Emmanuel de Lange

(fax 020 7670 0265) Department head, Opera & Dance Organiser (136) Variety Organiser (135) West End Organiser (139) London Area Theatre Organiser (138) Independent theatre/Low Pay No Pay Organiser (137)

RECORDED MEDIA John Barclay Claire Hood Laura Messenger Cathy Sweet Tim Gale

(fax 020 7836 5313) Department head & PACT TV Organiser (146) TV Organiser (152) Films & Contract Enforcement Organiser (149) BBC & Radio Organiser (153) TV Commercials Organiser (145)

COMMUNICATIONS & MEMBERS SUPPORT (fax 020 7240 6341) Martin Brown Assistant General Secretary (159) Matt Hood Department head, C&MS (166) Phil Pemberton Campaigns and Publications Officer (111) Louise Grainger Marketing and Training Officer (114) Alan Lean Tax and Welfare Rights Officer (157) Emma Cotton Tax & Welfare Rights Organiser (151) Martin Kenny Legal Claims Referral Officer (125)

south East office Will Holmes South East Organiser Equity, Upper St Martin’s Lane, WC2H 9EG tel: 020 7670 0229 email: southeastengland@equity.org.uk scotland AND Northern Ireland office Lorne Boswell Scotland and Northern Ireland Drew McFarlane Organisers Equity, 114 Union Street, Glasgow G1 3QQ tel: 0141 248 2472 email: scotland@equity.org.uk

northernireland@equity.org.uk North West office: Jamie Briers North West Organiser Express Networks, 1 George Leigh Street, Manchester M4 5DL tel: 0161 244 5995 email: northwestengland@equity.org.uk North East office: Max Beckmann North East Organiser Express Networks, 1 George Leigh Street, Manchester M4 5DL tel: 0161 244 5995 email: mbeckmann@equity.org.uk Wales and South West office Simon Curtis Wales & South West Organiser Equity, Transport House, 1 Cathedral Road, Cardiff CF11 9SD tel: 029 2039 7971 email: wales@equity.org.uk southwestengland@equity.org.uk Midlands office: Ian Bayes Midlands Organiser Equity, Upper St Martin’s Lane, WC2H 9EG tel: 020 7670 0232 email: midlands@equity.org.uk EQUITY MAGAZINE EDITORIAL Phil Pemberton tel: 020 7670 0211 email: ppemberton@equity.org.uk EQUITY MAGAZINE PRINTING Jeremy Littlestone, TUInk tel: 07810 825970 email: jeremy@tuink.co.uk EQUITY MAGAZINE ADVERTISING: Lisa Ottway, Sales Manager, Ottway Media Solutions tel: 07958 046 147 email: lisa@ottwaymediasolutions.com Publication of an advertisement does not imply any form of recommendation.

Organisations offering financial services or insurance are regulated by the Financial Conduct Authority and problems with such services should be taken up with the appropriate body. Equity cannot accept any liability for the quality of goods or services offered in advertisements.

special attention Members are instructed in their own interests to consult the Equity office before accepting engagements with or through any of the names on this list. For the full list, please visit: www.equity.org.uk/specialattention

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recently added: Abby Wilson – SET Theatre Company Pantomime Partnership Ltd. Mark

Turner: Turnstone Casting. Denis Stevenson: Bugle Boy Productions. Michael Jago:19th Hole Hospitality Ltd. John Paul James: Lolfa Lounge. Matthew Hampson: M&M Associate Productions Limited. Vanessa Beamont: Christopher Beamont. Maggie Montieth: BITT Film Co Ltd.