EquityUK Magazine - Autumn 2017 by Caron Lyon

AUTUMN 2017 www.equity.org.uk

The fight for a creative voice in Brexit How to deal with difficult casting questions Report from our annual conference

Manifesto for Casting EMMANUEL KOJO EXPLAINS HOW TO CHANGE THE CASTING PROCESS

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Contents News

04 Equity Distribution 05 ITC agreement 06 Universal Credit Update

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VAF celebrations

The Manifesto for Casting

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10 12

Features

20 Casting Questions 24 Conference report

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08 Meet the membership 30 Letters 31 In memorium 32 Branch update

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FRONT OF HOUSE

UPFRONT

Ethical agreement with the ITC EQUITY HAS SECURED AN IMPROVED AGREEMENT with the Independent Theatre Council (ITC) for performers and stage managers. This will apply to those working for ITC Ethical Managers in independent theatre. The new basic rate of pay is £458 per week, up from £447.50 in 2016/17. All additional payments, touring allowances and creative team fees have increased by the same percentage. Equity allowed no reduction of terms during the negotiations. Equity members will continue to benefit from decent holiday, overtime, hours of work, touring and sickness provisions. In a move welcomed by Equity’s Stage Management section, a new cap on overtime was established to tackle the problem of unmanageable Stage Management hours. Under the new agreement, the aggregating of overtime is now capped at 57 hours per week. The Equity/ITC agreement sets the industry standard for terms and conditions in funding applications, and Equity is calling on Arts Council-funded companies to respect industry standards. You can download the new ITC rate card at www.equity.org.uk/itc-rates-2017-2018

Blockbuster Wonder Woman is one of the many productions that are made on an Equity contract and whose distribution will now be handled by the Equity team (pictured below)

NEW EQUITY DISTRIBUTION SCHEME WILL PAY YOU MORE EQUITY IS TAKING BACK DISTRIBUTION PREVIOUSLY DONE BY BECS THE DISTRIBUTION OF MONIES that the British Equity Collecting Society (BECS) has completed for Equity in the past will be returning to the union and members will shortly start receiving any contractual monies from Equity directly. Equity is committed to providing a distribution service that ensures that performers receive maximum benefit from the exploitation of their performances. The new scheme will: Reduce commission rates on BBC, ITV and Channel 4 cable monies from 8% to 0% for Equity members. From 18% to 6% for nonmembers (inclusive of VAT) Pay interest to performers where monies are not distributed for more than six months

Provide Equity members with an online account management tool within the new Equity website launching at the end of 2017 Performers will also notice a change in the status of payments received for the retransmission of their work on European cable networks. Because these monies are derived from your contract of employment, they will now normally be paid to the agent who secured that contract for you – and it is likely that your agent will take commission from these monies if agreed under your agency contract. This change to the status of cable monies would have happened whether Equity or BECS were making distributions. However, the 0% commission is only possible as a result of the union taking back this work. Contact Equity’s new distribution team: distributions@equity.org.uk

For more information contact Emmanuel de Lange at edelange@equity.org.uk

Committees to start work

MPs AND PEERS from across the political spectrum have pledged to support Equity’s campaign to have representation of the creative workforce in Brexit negotiations. On 5 July, Equity, the Musicians’ Union and the Writers’ Guild of Great Britain organised a drop-in lobby for MPs and Peers in support of each union’s Brexit campaigns. Equity asked parliamentarians to sign a joint letter to Karen Bradley, the Secretary of State for Culture, Media and Sport, calling for a seat at the table for creative workers alongside employers being consulted on Brexit. More than 70 MPs and Peers came to the event, including Jess Phillips (pictured) and just under 50 signed Equity’s proposal.

Phil Hartley, Rex Features

Fighting for a creative voice in Brexit

THE UNION’S NEW COMMITTEE members have been announced. A total of 9% of Equity’s membership voted in the committee elections. A full list of results can be found on an insert in this magazine or online at: www.equity.org.uk/committee-2017-results Every two years, the Equity performers and creative practitioners are invited stand for industrial, specialist, national and equalities committees. These include the Screen and New Media Committee, the Stage Committee, and the Variety, Circus & Entertainers Committee. Polls then open, and the membership is asked to vote for the candidates to represent their interests. The new committees will begin meeting this month. Both re-elected and newly elected members will work together to build on past successes, and develop new initiatives to best serve their electorate, and further strengthen the union’s ability to fight for the rights of its membership.

Christine Payne General Secretary

Thank you to all of those who take part in the democratic nature of this union, together we can make lasting change happen in our industry THANK YOU TO ALL WHO STOOD in the recent Committee elections. Members getting involved in the union’s democracy and making their voices heard is vital for the future of Equity. Congratulations to those who were successful and commiserations to those who did not make it on to a Committee this time. Members of the Committees do tremendous work by providing expertise from their working life to help Equity’s organisers frame the pressing issues we need to put to employers. Committees are a major part of how the democracy of Equity works, as is our Annual Representative Conference. The Conference speaker this year was a great friend of Equity, Michael Cashman. He gave a passionate speech in favour of the European Union and, whatever your views are on Brexit, I hope you will agree, as Michael does, that creative workers need a voice in any Brexit deal. I was part of the Equity team that, alongside our sisters unions the Writers’ Guild of Great Britain and the Musicians’ Union, visited Parliament to lobby MPs and Peers to support Equity’s campaign to have representation of the creative workforce in Brexit negotiations. I want to thank the Equity members that invited their MPs to this event and assure them that we will continue to fight for their voice to be heard on this issue. Michael’s speech was one of the highlights of the Conference. He was also a recipient of Equity’s highest award, Honorary Life Membership, alongside Rosamund Shelley, Chair of the International Committee for Artists’ Freedom and Equity Councillor Rhubarb the Clown, however the main Conference business is for members to set the agenda and upcoming priorities for Equity. See page 24 for the Conference report. Motions put by members can have a major impact on the industry, as the 2015 Conference motion by the West and South West London general branch shows. They requested the union set up a Casting Working Party to examine the

issues surrounding casting and to arrive at “simple, good practice guidelines for all sectors”. This has resulted in our Manifesto for Casting (see page 14). I am very proud of the ambition and commitment of the Casting Working Party in creating this document. It is a practical Manifesto that the

I hope that you will agree that creative workers need a voice in any Brexit deal” industry is taking seriously. It has been supported by Spotlight, the Casting Directors Guild, the Personal Managers’ Association and the Co-operative Personal Management Association. It is about our determination to change the casting landscape so we get to see the more equal and diverse casts that we all want. On the other side of casting process is the monitoring of those on stage, screen, in audio, online and on demand. I’ve been unhappy with the level of detail we have received from Arts Council England in recent years. It really has not enabled us to get a coherent picture of how diverse our theatres are. The broadcasters’ monitoring efforts are concentrated in Project Diamond and they are due to release their figures on 23 August. I hope this will provide the detail we need. We support these organisations in the principle of monitoring casts, but we need the results to be meaningful so that we can ensure all voices can be heard.

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FRONT OF HOUSE

In brief... Annual Conference Tolpuddle march

The union’s 2015atAnnual Equity marched the Tolpuddle Representative Conference Martyrs’ Festival on 16 July.will be in Londongathered on 17 andunder 18 May. The to Members banners deadline is noon take partfor in amotions procession thaton 12 March and amendments honoured the for sacrifice of six 19th noon on farmers 17 April.and Thecelebrated 2016 ARC the century will take place in Bristol on 21, 22 trade union movement. Equity and 23 May. members also performed at the festival, including several who told the frequently unheard story of the Tolpuddle Women. The union has reached an interim agreement with the BBC Minimum fees for main artists are Equity’s Council consideredartists the up by 2.5% and supporting union’s representation Board and walk-ons fees have on alsothe been of the British Association of increased by 1%. The agreement Performing Medicine (BAPAM) also includesArts a pre-purchase of and voted to appoint Assistant certain rights. The deal is effective General Secretary Matt hood for the from 1 October 2014. remainder of the Council’s term. Thanks were expressed to Councillor Xander Black, who has represented Equity strongly opposes the union for the past three years. censorship and is extremely concerned that this show was forced to close. The union’s Equity andposition the BBCishave a consistent thatnegotiated it new Distribution Agreement to cover supports artistic freedom payments distributed by Equity on of expression. behalf of the BBC. This includes services such as iPlayer and 4Extra. More than £2million is distributed to Welsh each soap year operaonPobol y Cwm artists behalf of the BBC. has received a special Bafta honouring the show’s 40th anniversary. The award was Equity willatsend a delegation presented an event at Roathto bring two Trade Union Lockmotions Studios to in the Cardiff Bay. Congress (TUC) annual congress this Hannah Raybould, director of September. include Bafta Cymru,These presented theasking the TUC to support in accolade to actorunion Garethorganising Lewis, the entertainment sector wholive accepted it on behalf of the (including assisting lobbying for cast and crew. licensing law framework change), and to lobby for fair treatment for EU nationals and Irish workers in a Equity’s West Coast network in the post-Brexit UK. US is having an event to connect with fellow members living or working in Los Angeles or nearby. The Special Attention list was It will take place on 5 November, withdrawn from theand thethe union’s 7.30pm – 10.30pm venue website and magazine in Riverside late 2016. is Timmy Nolan’s bar on A new CA look91602. list, with direct links to Drive, County Court judgments, will appear online in the coming months.

BBC deal

BAPAM board

Exhibit B show

BBC distribution

Pobol y Cwm award

UNIVERSAL CREDIT UPDATE THE DEPARTMENT FOR WORKS & PENSIONS’ ROLL-OUT OF UNIVERSAL CREDIT CONTINUES ACROSS THE UK, REPLACING MANY MEANS-TESTED BENEFITS

GAINFULLY SELF-EMPLOYED CLAIMANTS OF Universal Credit (UC) are treated as earning £1,047.50 per month (known as the minimum income floor, or MIF) regardless of what they are actually earning. In comparison, employed (PAYE) claimants are assessed on what they actually earn (if anything) on a monthly basis. If you are not deemed to be gainfully self-employed, you will be required to look for and undertake any work, including employment work. Previously, the law on self-employed welfare benefit assessments required an accurate assessment of the claimant’s actual earnings at the time of claim, and that their circumstances should be taken into account. Equity has produced a briefing for selfemployed UC claimants - please go online and visit the Equity website at:

www.equity.org.uk/members-area/memberresources/tax-and-welfare/universal-credit We will be providing more information about Universal Credit in due course and we continue to lobby the government for changes, including the abolition of the MIF for entertainers. However, it is important that members contact their MPs also. We have provided a template letter for you to use that is included in the briefing. In the interim, if you are self-employed and currently receiving a ‘legacy benefit’ such as income-related JSA, Tax Credits or Housing Benefit, and your claim stops for whatever reason, it is essential that you contact the Tax and Welfare Rights helpline for advice before making a claim for Universal Credit. Call the Tax and Welfare Rights helpline on 0207 670 0223 (Monday to Thursday) or email helpline@equity.org.uk

We’re proud of you EQUITY MEMBERS HAVE taken part in a number of Pride events across the UK. On 27 May, Birmingham Variety branch (pictured) were in the thick of the celebrations at Birmingham Pride. More than 40 members marched as part of London Pride on 8 July and on 26 August, Equity will march in the Manchester Pride parade.

TUC Congress 2017

US network

Special Attention list

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www.equity.org.uk

SUMMER 2017

MEET THE MEMBERSHIP

ELEKTRAFYING Guy Woolf is an actor and a drag queen called Elektra Cute. Here, he discusses modern variety, the Spice Girls and what he feels is the greatest challenge facing the arts

It’s terrifying the lack of representation in the arts - it just shouldn’t follow those rules”

How did you first enter the world of drag? Some friends of mine at uni started the group. We were very close and they knew I was a singer. At that time I knew nothing about drag. The guy who started the group, which is called Denim, said it was the most complete type of performance because you craft your character and then they stay with you forever. It’s like being in the longest soap. It’s not like doing a four-week run, it’s something that stays with you and I thought that was really exciting. When I perform I love being something completely different. I find that more exciting than a boring, naturalistic performance. “Modern variety has Don’t get me wrong, it’s exhausting and it takes become a bit more three hours getting ready pretty much for politically engaged, anything, but I haven’t really looked back.

certainly from the angle How would you we come at it” How did you go about creating the look define modern variety? and character of Elektra Cute? It’s become a bit more politically The first few years were sort of terrible. It engaged, certainly from the angle we come at it. was like: put on lipstick and some eyeliner and Hey I think that’s largely true when you look at some of presto! You’re a drag queen – please! It was so basic, and the great variety acts around such as Scottee, La Gateux we’ve all improved. I’ve always had a kind of rock voice and they Chocolat, Dicky Bow and Victoria Sin. They are so politically infused. wanted a sort of punk rock chick. That was how the idea started Why do you consider a lack of socioeconomic for Elektra, and then it developed - she kind of became a sort of diversity the greatest challenge facing the arts? political warrior, a political activist who’s actually quite monied, The result of a lack of socioeconomic diversity is more quite privileged. She’s the treasurer of a Marxist society, but she homogenised programming, which I find dull because it is holds the meetings in her dad’s basement swimming pool in privileged people programming work starring privileged people Knightsbridge. We just thought it was quite fun to critique that for privileged people to watch. It doesn’t accurately reflect how sort of really well-meaning, liberal sort of indulgence. She likes diverse and cosmopolitan the UK is, particularly London. I’ve to pose as someone who’s really together when actually she’s just lived in the capital my whole life and everywhere you go there figuring everything out. So her look as a result is confused, it’s a is great diversity and that should be reflected properly in art. bit of this and a bit of that. It’s terrifying the lack of representation there is in the arts and What do you think is the future of drag? it just shouldn’t follow those rules. I think venues, casting I’d like to see it become normalised more, I think directors, directors, etc, need to take more responsibility for RuPaul has helped a lot with that. I hope we’re the that, to confront it. I think every level of the industry from future of drag! We want to be like the Spice Girls, we want it to drama school, to agents, to producers – every single aspect of it be really pop and really mainstream to the extent that it’s more should be more encouraging towards people from lower accessible and that it inspires other young artists to do it. socioeconomic backgrounds.

Interview: Laura Gilbert

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SUCCESS STORIES

Veteran artistes and new variety performers gathered together at the London Palladium to celebrate the Variety Artistes’ Federation and Equity

Equity and SDUK unite for directors

Equity secures new stage management roles at the National Theatre

CELEBRATING 50 YEARS OF VARIETY

Phil Hartley, Rex Features

JIMMY CRICKET HOSTS EVENT MARKING THE DATE THAT THE VARIETY ARTISTES’ FEDERATION JOINED FORCES WITH EQUITY ON 16 MAY, THE UNION CELEBRATED THE 50TH anniversary of the Variety Artistes’ Federation (the VAF) becoming part of Equity by hosting an afternoon event at the London Palladium. Variety performers gathered together at the venue’s Val Parnell Bar to recognise the two unions’ momentous 1967 decision to join forces, recognising that, when it came to ensuring entertainers’ rights, they were indeed stronger together. The celebration, considered the showpiece of Equity’s Year of Variety, was hosted by comedian Jimmy Cricket, who entertained guests with jokes and juggling. The afternoon was filled with conversations, as members of the current Variety, Circus and Entertainers’ Committee met with veteran artistes – including those who witnessed the original 1960s unification. Ron Bone, for

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instance, got up and spoke at a Charing Cross Hotel VAF meeting more than 50 years ago, to support the “amalgamation motion” to become part of Equity. Performers were reunited with peers and the family of Joe O’Gorman (the original VAF chair) attended, to commemorate their grandfather’s union work. The event was full of fond memories of the past, but all present recognised that variety performers continue to face difficulties, and understood the necessity of a strong trade union to protect current and future entertainers. As Jimmy Cricket explained: “Just as in 1906, when the Variety Artistes’ Federation was formed to protect performers from unscrupulous theatre owners and managers, in 2017 there are people out there ready to exploit members of our profession for their own ends. Isn’t it comforting and reassuring to know that when we reach out Equity will be there to help?”

UNION HELPS CREATE JOBS FOR NEW STAGE MANAGERS AND FOR THOSE WITH CARING RESPONSIBILITIES

Members rate union’s support More than 70% of members who get in touch with Equity are “very satisfied” with the union’s response to enquiries, according to a recent membership survey. Equity regularly runs surveys to better understand the membership and how it views the union. More than 4,200 people volunteered to give feedback, representing around 10% of Equity members. Contract conditions, benefits/tax and equal opportunities were the three main reasons performers and creatives reached out to the union. The survey shows the three issues which members are most concerned about are low pay/no pay productions, Brexit and equalities and diversity, and that they believe Equity was particularly good at insurance, legal support and campaigning. Members were also asked about communications, with 83% stating they wanted a regular Equity email newsletter. The union will act on this and start delivering these early next year. Finally, 85% believed the Equity magazine remains a useful communication tool despite the popularity of social media.

www.equity.org.uk

EQUITY HAS SUCCESSFULLY NEGOTIATED with the National Theatre (NT) to create four new assistant stage management roles. These jobs are designed to specifically appeal to those new to the industry, and to those who are looking for a flexible working structure – including parents and those with caring responsibilities. Two of these positions are full-time fixed-term contracts for a full two year period; not on a show-by show basis. The others are permanent, part-time roles, where ASMs will work for six months and then have the rest of the year off. This will allow professionals to pursue further career development opportunities, or undertake caring responsibilities. The union is confident that the job structure can be successful – and the part time roles in particular can be held up as an example of good, workable practice. This may be particularly helpful for members wanting reduced hours at the start or end of their career. Both Equity and the NT believe that, if advertised in the right way, these roles will help promote a more diverse stage management workforce. The regular income and stability of full-time work should draw in applicants from non-traditional backgrounds, which would be unable to pursue gig-based employment. It will also help develop careers, as the successful candidates will gain skills working with a leading organisation and crucially have the NT credit on their CV. The flexibility of the part-time roles will give an opportunity to those with caring commitments. The NT also wishes to promote inclusivity by advertising in a more innovative way, so more people hear of these job opportunities – in particular, they wish to reach out to BAME applicants. Paul Fleming, the organiser responsible for the NT, said: “This deal is significant. We’ve seen permanent stage management positions decline all over the country and the precariousness of our members increase accordingly. We must always be fighting for the best terms for the freelancers who make up such a large part of the SM workforce, but showing permanent positions can be done in more innovative ways is a key part of having the diverse workforce we all want to see.”

www.equity.org.uk

EQUITY HAS PARTNERED WITH STAGE DIRECTORS UK (SDUK) to form a working party that will help ensure directors get the best possible agreements. Representatives from both organisations will come together to identify proposals for a compelling, evidencebased claim for revision of current contracts that the union will take forward to negotiations both with the Society of London Theatre and UK Theatre. An open meeting for directors was held on 27 June. Equity President Malcolm Sinclair and SDUK executive director Thomas Hescott spoke to those gathered about the partnership, followed by directors Lisa Blair and Jeremy Herrin (of the union and the trade organisation, respectively). Lisa Blair stated “combining forces means that we can collectively strengthen our claims”. Thomas Hescott suggested to all present that “we want good, robust contracts because we want a diverse industry,” explaining how securing fair agreements will help the next generation of practitioners. Directors then discussed their industrial concerns. As director Zoe Waterman stated, for many it was “rare to be in a room full of directors”, and the creative professionals relished the opportunity to work with their peers. Both organisations are excited to colloborate. Stephen Spence, Equity’s Deputy for the General Secretary, said: “The invaluable work of SDUK and the wealth of experience of its members will inform Equity’s claim to SOLT and UK Theatre, making sure that we can improve terms and conditions for everyone.” Thomas Hescott agreed, stating “I’ve always believed that the best theatre comes from strong collaboration, and that’s no different when it comes to negotiation.”

The open meeting was an opportunity for directors to discuss the pressing issues in their sector

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SUCCESS STORIES

EQUITY DESIGNS NEW MEMBERSHIP SCHEME TO HELP GRADUATES LAUNCH THEIR CAREERS UNION CREATES A REDUCED PRICE MEMBERSHIP TO HELP PERFORMERS AND PRACTITIONERS AT THE START OF THEIR PROFESSIONAL LIVES

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King’s Head: Fair pay for all KING’S HEAD THEATRE’S director Adam Spreadbury-Maher (pictured) worked with Equity to establish a competitive rate of pay for all creative professionals, including directors, designers and choreographers. Equity’s Professionally Made Professionally Paid campaign built on previous success it has had for actors and stage managers by extending protections to creatives. Emmanuel de Lange, the union’s Low Pay No Pay organiser, said: “The King’s Head has been leading the way on ethical Fringe pay for years, so it’s fitting that they have signed up to a creative team agreement. The Fringe agreement is a stepping stone to full Equity contracts.” Main house productions at the King’s Head will now guarantee pay of at least £1,375 for directors and £825 for set designers. Dan Ayling, Equity’s creative team councillor, said: “It’s great news that paying actors a fair wage for Fringe work is becoming accepted practice, but creative team members such as directors and designers need to be included too and I welcome the King’s Head leading the way with this deal.” The union also supported the venue’s new diversity policies, which include making half of production roles non-male.

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member’s graduation date. Anyone who has completed a higher education performing arts course since 30 June 2015 is eligible, provided they have not already upgraded to full membership. This scheme will be available to those who studied both at accredited and nonaccredited institutions. “We are extremely pleased that we are able to offer recent graduates this new membership scheme,” said Matt Hood, Equity’s Assistant General Secretary. “We hope to see many earlycareer performers, stage managers, directors and designers benefit from the support Equity can offer them.” For more, contact: graduates@equity.org.uk

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Equity at Glastonbury Following the outreach success of previous years, Equity once again attended Glastonbury to speak to members and other performers about their work, their professional concerns, and what the union could do to tackle these issues. Equity hosted a daily surgery in the Theatre & Circus Green Room canteen, and roamed the grounds, reaching out to a range of artists including singers, comedians, dancers, acrobats, actors, jugglers, stilt-walkers and cabaret performers. The union’s representatives recruited new members and helped allay the concerns of existing ones.

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MANIFESTO Actor and Equity Councillor Emmanuel Kojo spoke to casting directors at the campaign’s launch

Manifesto for

CASTING Equity’s new campaign seeks to revolutionise the casting process – making it clearer, fairer, less stressful and more inclusive for everyone Photography Phil Hartley

quity has launched the Manifesto for Casting: a radical campaign that aims to change the way industry professionals approach the audition process. The document, which covers the entire audition process from job advertisements to recalls, lays out good practice principles that will making casting clearer, fairer, less stressful and more inclusive for everyone. The manifesto seeks to help the industry as a whole, and “widen the net and open up opportunities for all parties: performers, casting directors, agents and engagers”. The manifesto asks casting directors to, amongst other things, commit to inclusive casting, limit the number of recalls, consider local talent, be mindful of performers’ caring responsibilities and tell actors when they have not gotten a role. Equity Ethnic Minorities Councillor and actor Emmanuel Kojo underscored the importance of this document, with an address delivered at the manifesto’s launch, where he said: “I am a black actor, but my identity shouldn’t be relevant to the expectation of what I can do. That judgement should instead be based on my ability as a skilled, professional person to deliver what the team wants and their idea of what they want their piece to be.

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“The same goes for older actors, women actors, East Asian actors, gay actors, deaf and disabled actors, actors from and living in the UK’s nations and regions, actors who are parents, actors who are signed to small agencies, or represent themselves. “The casting process can be full of pressure, timeconsuming and stressful but I know that everyone in this room wants the best outcome from it.” Speaking on the campaign’s importance, Equity’s General Secretary Christine Payne stated: “Our industries will only thrive by attracting and retaining professional talent, regardless of background or circumstances, to meet the ever-growing demands for audio and audio-visual creative content on stage, on screen, online and on demand. This manifesto will be used by the union to seek the changes that will ensure the continued success of our creative industries.” The manifesto was formally announced on the 22 June, at a gathering of industry professionals at the Ivy. Equity members, agents and casting professionals including representatives from Spotlight, the Personal Managers’ Association (PMA), Casting Directors’ Guild (CDA), the Co-operative Personal Management Association (CPMA), the BBC, the National Theatre, the Royal Shakespeare Company, PACT, ITV and Channel 4 S4C, arrived to learn

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MANIFESTO

Clockwise from top left: Artistic Director of Graeae Jenny Sealey, BBC Casting Director John Cannon., actor Martina Laird, actor Rebecca Root, Head of Casting at the Royal Shakespeare Company Hannah Miller, MP Tracy Brabin, Chair of Equity Liverpool and District General Branch Stephanie Greer, and Head of Casting and contracts at ITV Studios Clare Cooper-Marshall Opposite page: The speakers at the launch event were Equity President Malcolm Sinclair, Tracy Brabin, Clare Cooper-Marshall, Equity Councillor Emmanuel Kojo and Equity General Secretary Christine Payne

There is no way you can get a role if you cannot even get into the audition room” about the campaign and understand the issues which inspired it. Christine Payne opened the event, and President Malcolm Sinclair explained each policy of the manifesto. He was followed by Clare Cooper-Marshall, head of casting and contracts at ITV Studios, who endorsed the campaign, and who described it as being “for the future benefit of Equity members, theatrical producers, programme makers and indeed all stake holders in our industry. It represents the beginning of a positive dialogue about making us fairer, more representative and, ultimately, more creative.” MP, actor and writer Tracy Brabin celebrated the manifesto as both a politician and a performer. She said: “Britain’s creative industries are the envy of the whole world. The industry drives exports and inward investment and is a symbol of the type of country we are and the type of country we want to be. Outward-facing, brave, imaginative and extraordinarily creative. Risk-taking in bringing entertainment to people around the world.

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“But access into this industry is proving more and more difficult. I – and I’m not alone in thinking this – I don’t think I would have had the career I was lucky to have if I was starting out today.” The document, which responded to the passionate demands of the union’s members, has gained support from actors including Mark Rylance, Maxine Peake, Patrick Stewart, David Morrissey, Vicky McClure, Julie Hesmondhalgh and Rebecca Root. Julie Walters also applauded the manifesto. She said: “I stand with Equity: we need there to be opportunities for performers living all over Britain. Any production should make a concerted effort to audition local performers. Talent is not concentrated in the UK: it’s not confined to a single city. Excellent actors are to be found in all the regions.” Mat Fraser, who was the first disabled actor to ever be cast as Richard III, said: “There’s no way you can get a role if you can’t even get into the audition room. Deaf and

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MANIFESTO

MANIFESTO FOR CASTING

CASTING PREPARATION Job advertisements Where roles are advertised, the casting breakdown should be presented in the most inclusive way possible Inclusive casting A diverse range of performers should be auditioned for every production, including voice-only performances. Greater consideration should be given to specific characteristics for any given role Local talent Consideration should be given to professional talent from where the production is made Access The building where auditions are held should be accessible and reasonable adjustments (a legal requirement) should be made to the audition process to ensure all performers can participate

Top right: Polly Kemp and Deirdre Mullins of ERA 50:50. Bottom right: Equity President Malcolm Sinclair presents the Manifesto

Contract It should be clear what kind of contract is being offered BEFORE THE AUDITION Submissions Submissions made should be relevant to the role and performers’ information should be up-to-date Access A question requesting the access requirements of performers should be included in every invitation to audition

Casting of disabled and ethnically diverse actors need not be a political statement” Disabled actors have to fight so hard to make it in this industry, and it’s ridiculous that they should be expected to struggle just to be seen. Equity’s demand for accessible spaces is essential to make sure everyone can take part in our industry.” Equity Councillor Tanya Moodie added: “A vibrant industry is one where every player has the opportunity to manifest their fullest creative potential. I’ve witnessed diverse casting blossom over the years. There’s still work to do. Casting of disabled and ethnically diverse actors needn’t be a political statement, but rather something that happens as a matter of course.” The manifesto responds to the concerns members from committees and branches across

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Nudity/simulated sex No sex act should be requested at any audition A performer should not be requested to undress in whole or in part unless a mutually agreed observer is present

the UK have voiced in the past three years, which led to the establishment of a Casting Working Party. This led to the union establishing a positive and open relationship with the CDG, the PMA, the CPMA and Spotlight, and in turn to a commitment between all organisations to improve the casting process. The campaign has been gratefully received by performers and industry professionals alike, and casting directors have pledged to support it. You can find a copy of the manifesto to share over your social media networks at www.equity.org.uk/manifesto-for-casting

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Professionalism Equity members have a responsibility to turn up on time, be prepared and give the earliest possible notice of cancellation All involved in the casting process have a responsibility to ensure performers are given the opportunity to prepare and give of their best Preparation time Castings should be planned, where possible, with a realistic time frame to allow casting directors and agents enough time to enable performers to prepare properly

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Equity already has agreements with engagers that cover the casting process. This manifesto is our vision of how casting can be made better for everyone: Cost Reasonable consideration should be given to the cost to performers when attending auditions Caring responsibilites The caring responsibilities of performers should be recognised and, wherever practicable, accommodated AT THE AUDITION Self-taping Performers should be given clear direction on what is required and a realistic time frame. There should also be a timely acknowledgment of its receipt Time keeping Every attempt should be made by all concerned to keep to the agreed audition time Data protection Information provided on the head sheet or the artist declaration form or equivalent must be treated in accordance with data protection law Appropriate questions In line with the law and with specific exceptions, performers should not be asked for personal information, verbally or in writing, as part of the audition. This includes actual age, ethnicity, disability, pregnancy, marital/civil partnership status or sexual orientation Filming auditions If an audition is to be filmed, the film (or self-tape) should not be used or distributed for any other purpose without the consent of the performer AFTER THE AUDITION Outcome Performers/Agents should be informed when they have not got a role at the earliest opportunity Pencilling A pencil is not a firm booking. All parties should be clear about the number of performers pencilled and the time frame for a decision to be made. A pencil can be withdrawn by performers or agents without repercussions. Notice of withdrawal of a pencil by any party should be given as soon as possible Recalls All those who are essential to casting decisions should work with performers to minimise the number of recalls

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CASTING QUESTIONS

QUESTION TIME Actress Kelly Burke explains why members have requested help with the many intrusive questions that can happen during a casting

Let us insist that we are auditioned in accordance with the law, like any other professional applying for a job”

ncluded with this magazine, you will find a credi card-sized leaflet called Play Fair Casting Questions. The idea for it grew out of the Women’s Committee’s awareness that being asked your age in an audition is damaging for our female members. You are at the audition because you are believable for the part — but as soon as you are asked your age (on paper or in the room), what you say can lose you the job. Age is not the only issue, of course, and not only women are affected. When we are asked to share personal details, we can all find ourselves in danger of losing a job. This can be because we are percieved to be too old, or from the wrong racial background, or not straight, or have too many caring responsibilities at home. We are forced to compromise our privacy and put ourselves in tiny, very literal, casting boxes. These kinds of questions are not only difficult — they could be illegal. Equality law states that employers “must not ask” for certain personal information (called “protected characteristics”) in an interview. This means that in an audition you should never be asked, with a few exceptions*, about your: Age, disability or health, sexual orientation, marital status/ civil partnership, ethnicity, gender, religion or pregnancy The Casting Questions card is a quick reference for what we do not have to speak about in an audition, and gives us a few strategies for responding: Where forms ask for date of birth, health details, etc, leave them blank. Take pictures of them and forward them to equalities@equity.org.uk If you are asked in the room, say “My playing range is…” or “I usually play…” instead of giving out personal details. (Or try something cheeky like, “How old is the character?”) Again, report it to Equity. Our colleagues on the casting side of the industry have all seen the Play Fair card. Many of them have been aware of this for years and are working hard to support us – witness all the goodwill and collaboration across the industry for the Manifesto for Casting. If we were going to choose a moment to change the culture of our profession for the better, that moment is now. But nothing will change unless we commit to doing it together – all of us. It is difficult. None of us want to cause trouble in the audition. And I’ve heard people say, “Oh, I just fill in the form. It doesn’t really matter to me.”

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But this is why it matters: When we answer these kinds of questions, we are saying that it is acceptable to be asked. And we are saying it is acceptable to not be hired because of our answers. We are saying that it is acceptable for a colleague (as I overheard recently) to be asked: “What kind of mixed-race are you?”. We are saying it is acceptable to be rejected for a job on the grounds that we are 41 instead of 39, that we might be considering pregnancy, that we are managing mental health issues. We are saying it is fair to ask our most vulnerable members to make themselves more vulnerable. We must take responsibility for what we want our industry to look like. Let us insist that we are auditioned in accordance with the law, like any other professionals applying for any other job. Let us insist on a basic level of privacy and respect, and refuse to accept intrusive questions as ‘business as usual’. Let us do it for the longevity and creative diversity of our own careers — and let us do it to support our fellow performers who are pushing against barriers even greater than our own. Let us do it now. *Employers only need to ask for this kind of personal information before an offer is made if they are intrinsic to a job, e.g. need to have a particular characteristic for authenticity in a dramatic performance, need to be 25+ if selling alcohol or 75+ to secure insurance for a hazardous activity, or asking about disability if a task that is central to the job cannot be done with reasonable adjustments. Other circumstances where this questioning would be allowed also include equality monitoring (which should be kept completely separate from anyone involved in the audition) and to make reasonable adjustments for the application/audition process.

THE PLAY FAIR CASTING QUESTIONS CARD is designed to fit in your wallet, so you can carry it with you to auditions and know your rights. You can download a digital copy of the card from our website at: www.equity.org.uk/castingquestions Learn more about our Play Fair campaign at: www.equity.org.uk/ play-fair

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Member offers 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

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.

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

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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rac breakdown cover We’ve teamed up with the RAC to bring you a potential 50% off RAC Rescue cover, this is off the base, standard cover. With your discount, Roadside cover starts at just £29 a year. And, depending on which level of cover you choose, you could save as much as £99.25. Join at rac.co.uk/join/benefits or call0800 096 6836 quoting EBS001

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

smollensky’s bar and grill

Smollensky’s Bar and Grill on the Strand are offering Equity card holders 25% discount on food. They also have drinks offers (these are subject to availability so always ask and show your Equity card before ordering). 105 Strand, London, WC2R 0AA www.smollenskys.com phoenix artist club Equity members get 50% off annual membership, at this private members’ club and licensed bar for professionals in the entertainment industry and their guests, open Mon-Sat 10.30am-2.30am (last entry 1am). Hot food served in the brasserie until 9.30pm. Sunday open 12 noon – 1.30 am. Entertaining entertainers since the eighties, this “jewel in the ground”. Annual membership is £200 reduced to £100 on presentation of your paid-up Equity card. Join online or phone the club during the day. Located beneath the Phoenix Theatre, 1 Phoenix Street, Charing Cross Road, London WC2H 8BU. Tel: 020 7836 1077, www.phoenixartistclub.com

Listen to the magazine

Equity members can have 10% off an annual subscription. This is available on both print and digital editions. Go to the website: http://subscriptions.thestage.co.uk and select the version you require. Remember to include the code EQUI in the Promotional Code box.

travel lodge Travelodge offer 5% discount on bookings through their Business Account Service. To register set up an account, go to www.travelodge.co.uk Click on the Login/ Sign up button on the top right of the menu. Choose Business and then follow the Sign Up steps quoting Equity as the Business name.

q-park

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

If you, or a fellow member, has difficulty in reading printed material the Equity magazine is also available as an audio file on CD or data stick. To receive it, contact the RNIB via: Donna Gordon, donna.gordon@rnib.org.uk 01733 375106

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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CONFERENCE REPORT

We must be heard Above: London Area AGM representative Nichola Dame Hartwell. Left: Equity General Secretary Christine Payne and Equity President Malcolm Sinclair. Opposite page: guest speaker Michael Cashman and Stage Committee representative Jackie Clune

Michael Cashman gives a passionate speech about Equity’s role defending creative workers in any Brexit deal as members gather to challenge the industry at the union’s annual conference Photography Phil Adams

quity’s Annual Representative Conference in May packed in a huge amount into two days with delegates debating a wide range of issues including socio-economic bias, smoking on stage, self-taping, theme park workers, London rehearsals and much more. The union’s President Malcolm Sinclair opened the conference celebrating how effective Equity is when the union’s staff and members work together. He cited the recent guide to audio work, the partnership with SDUK and the Manifesto for Casting as reasons why Equity is winning the argument that “being a member of a trade union is an important and good thing to do”. Equity’s General Secretary Christine Payne followed Malcolm to the podium and set out the positive news of a union that continues to grow its membership and makes great industrial agreements - despite the turbulent political climate. She then focused on the “hugely disappointing” record of diversity and equality monitoring by Arts

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Branch, then spoke from the podium about putting social and economic mobility alongside the union’s ongoing equality and diversity priorities. “Socioeconomic bias is affecting our members every day,” she said. “Young actors in Liverpool are struggling to afford to train.” This was passed unanimously as was the request from Dan Edge on behalf of the Deaf and Disabled Members Committee for greater support following government cuts to schemes such as Access to Work and the disability living allowance. He said: “What we are asking for, is while we are fighting on so many fronts, please give us the support so we can fight with you.” A regular item on the conference agenda is the guest speaker and this year it was Equity member Michael Cashman. He gave a passionate speech about Brexit and the need for the creative industries to have a voice in the discussions about leaving the EU. He said: “Equity must be included in all – I stress – all discussions with the DCMS, and the Department for Exiting the EU to ensure that we maintain the best for the cultural industries on funding, ability of talent, intellectual property, employment rights – I do not want this country to become an off-shore

Council England. She said: “The Arts Council have twice failed in their monitoring to show with any certainty, with any clarity, with any transparency, what we are seeing on our stages.” The main business of the conference then began with actor Jackie Clune taking to the stage to discuss caring responsibilities. “Childcare provision is becoming much more commonplace in other industries so why not ours? We are supposed to be more humane, more invested in equality, more forward-looking and more inclusive,” she said. The motion from the Stage Committee to support Parents in Performing Arts’ feasibility study of a crèche to help artists working in central London and examine a similar set-up for the nations and regions was passed unanimously. The subsequent motion on dealing with intrusive questions in castings put by the Brighton and Sussex General Branch was passed and the ‘Casting Questions’ leaflet has been produced and is included in this issue of the magazine (see page 20). Stephanie Greer, from the Liverpool and District General

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CONFERENCE REPORT

We must talk about the kind of Britain we should be, a Britain that has at its core the principles of fairness and equality”

Honorary Life Membership was award to Rosamund Shelley, Chair of the ICAF (top right), Equity Councillor Rhubarb the Clown and Michael Cashman (right). Above: Equity Councillor Stephen McGuire. Opposite page: London Area AGM representative Ayvianna Snow

Members vote to change industry EQUITY’S 2017 CONFERENCE CARRIED 41 MOTIONS AND HERE IS THE COMPLETE LIST The Stage Committee called upon Council to support a scheme looking into establishing a crèche for artists working in central London, and any comparable initiatives across the UK. Northern Ireland Branch asked Equity to ensure all main theatre, film and TV agreements include a caring provision.

training workshops for Deaf & Disabled members.

Artistes’ Federation to the Equity website.

Women’s Committee asked ACE to fund individual theatre companies according to their performance on diversity.

Directors and Designers Committee called on Council to ensure all members receive equal and increased protection and to ensure that this is discussed with appropriate bodies such as ACE.

Stage Committee called on Council to lobby for an even gender split on the boards of arts organisations that employ Equity members.

Brighton and Sussex General Branch called upon the union to create a pocket-size card listing questions members can legally refuse to answer (in an audition).

Variety, Circus and Entertainers Committee asked Council to recognise 2018 as ‘The Year of the Circus’.

Liverpool and District General Branch urged Council to put social and economic mobility on Equity’s national agenda.

North East Variety Branch urged the union to identify new agencies and to encourage them to use recognised contracts.

Minority Ethnic Members Committee asked Equity to develop policy and strategy that will enable the union to challenge and improve casting decisions consistently.

Manchester and District Variety Branch called on the union to work with industry bodies and other trade unions to look at how more effective regulation can benefit all.

Deaf and Disabled Committee called upon Council to provide necessary resources to create a stronger focus on the needs of Deaf & Disabled members.

Variety, Circus and Entertainers Committee urged Equity to consider supporting the creation of a Variety, Circus and Entertainers Committee Working Party.

Northern English Area AGM urged Equity to set up a pilot scheme offering professional

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Humberside Variety Branch asked the union to add the history of the Variety

sweatshop of the rest of Europe - and cultural diversity. We must be invited to join the Creative Industries Council. Colleagues, our voice must be heard. If necessary, in concert with others but if not – alone. We must be heard both in government, and in the public debate, and amongst politicians and peers of all parties…we must talk about the kind of Britain we should be, and could be. A Britain that for me, has at its roots and core, the principles of fairness, equality, decency, justice and humanity.” The year 2017 was designated by a previous Conference to be the ‘Year of Variety’ and it has been a great success. At this year’s conference a

Screen and New Media Committee urged Council to work to raise awareness of EU nationals’ contribution to the UK acting industry. Northern Ireland AGM asked Council to campaign for Northern Ireland to continue to have an all-Ireland agreement and a ring-fenced NI and ROI EU investment for film and television production. London Area AGM called upon Council to find better mechanisms to inform our members about serial bullies.

South West English Area Annual General Meeting urged Council to ensure that all organisations in receipt of public funding agree to pay industry standard rates.

East of Scotland Branch asked Council to request Spotlight to reduce student fees.

Stage Management Committee asked Council to investigate running a campaign on Creative & Production Careers Awareness in association with other FEU unions.

North and North East London Branch called upon Council to consider setting up a new Arts Policy and Campaign Working Party that would announce the central tenets of its policy and to ask for support for the process of achieving its aims.

Young Members Committee urged Council to investigate the viability of a nationwide unionisation drive within the theme park and attraction sector. North Lancashire and Cumbria General Branch called upon Council to monitor the trend in regional theatres casting and rehearsing solely in London. Dorset General Branch asked the union to support Associate European Citizenship.

Dance Committee urged Council to investigate the cost and other implications of offering a dancers’ insurance package and to make recommendations for improvements in existing dancers’ insurances. South East English Area AGM asked Council and staff to contact all dance schools with vocational courses to encourage them to invite Equity to enrol as many dance students as possible.

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motion was put forward by the Variety, Circus and Entertainers Committee to designate 2018 as the ‘Year of Circus’ because it will be the 250th year since the establishment of the first circus. Rhubarb The Clown proposed the motion and said: “Circus performers are not being as well served as they could be by this union.” The conference heard further debates around many issues such as career awareness for nonperformers and unregulated variety agents. It also held fringe events such as help for students to deal with bullying and passed a motion for Equity to appoint staff resources to assist in this area. Next year’s Conference will be in London.

Council, on behalf of the Online Branch Committee, called upon Equity to investigate training in the use of IT so that the reach of the online branch can be extended. Council requested that from 1 January 2018, subscription rates will increase by 2.4% rounded to the nearest whole pound. Kent General Branch asked the union to facilitate accredited online training available to members. Thames Variety Branch urged the Council to consider that the quorum for a committee meeting should be five members. West of England Variety Branch asked Council to consider altering the guidelines to allow members attending meetings remotely to count towards the quorum. West and South West London General Branch recommended to Council that monies should be set aside to fund a member of staff with the responsibility for anti-bullying and mental health issues. Welsh National Committee called on Council to publish a digital label worded ‘Proud to be a member of Equity’ or similar. East Anglia Variety Branch requested that Council ensures all General and Variety branches include a standing ‘Walk-On and Supporting Artists’ item on their agendas.

Devon and Cornwall General Branch asked Council to look into ensuring the protection of performers regarding possible future computer-generated performances following their death. Screen and New Media Committee called on Council not to consider accepting any contractual agreement with BBC Studios that does not recognise the new commercial realities in which it is operating. Northern Ireland Committee called on Equity to campaign for BBC Northern Ireland to be given a larger slice of the licence fee collected in Northern Ireland. Yorkshire Ridings General Branch asked Council to establish a UK-wide National and Regional Production and Casting campaign. Audio Committee urged Council to explore what guidance can be given to members about professional rates of pay for audio work. . Scotland Annual General Meeting called on Council to look into the costs for funding training workshops on self-taping. North West General London Branch asked the union to offer more self-taping support to members. Midlands English Area Annual General Meeting urged Council to consider promoting the Equity/London Film School Agreement.

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IN APPRECIATION

RODNEY BENNETT REMEMBERS HIS BROTHER WHO CARVED A CAREER IN THEATRE WHILE SERVING AS AN EQUITY COUNCILLOR

The RTF helps people from ALL areas of the entertainment industry – not just actors and singers – but dancers, stage management, directors, front of house and backstage staff.

I’m glad he bowed out gracefully with the curtain slowly coming down” Brighton and Butlin’s, Filey. Many others after RADA include six years with Dickie Burnett and Peggy Paige’s “Penguin Players” at the de la Warr Pavilion, Bexhill, where he directed several plays. While we lived in Manchester in the mid-1970s we saw Bruce at the Wilmslow Theatre on tour with Rupert Davies in Home at Seven. In the West End from 1987 to 1989, Bruce played Surly Man with Maggie Smith and Margaret Tyzack in Peter Shaffer’s Lettice and Lovage at the Globe. Bruce also worked with Alan Rickman in 1991 in Tango at the End of Winter at the Piccadilly. Bruce’s other West End ‘performance’ (I use the word advisedly) was as understudy to Warren Mitchell in Harold Pinter’s The Homecoming, also in 1991, at the Comedy Theatre. Bruce said, through gritted teeth, “Warren was too fit. He never fell ill.” I remember him playing the part of the father in An Inspector Calls by JB Priestley and also in Ben Travers’ farce Rookery Nook, both probably on tour. Bruce also had several TV credits – as Reception Clerk in The

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oyal

Theatrical Fund

Bruce Bennett

ruce John Lewis Bennett was born on 16 October, 1935 at University College Hospital, St Pancras, within the sound of Bow Bells, so he was, technically at least, a Cockney. While at Abingdon School as a boarder during the war he showed his first artistic tendencies, writing a play for the school theatrical society that, when performed, he could not see because it was after his bed time. Bruce attended St Paul’s School from 1948-53. He played Julius Caesar in the school production of that play at the tender age of 16. He knew at 14 that he wanted to be an actor. Bruce was very proud of his amateur work after leaving school, particularly with The Stephonians, attached to St Stephen’s Church, Enfield. I remember one production of Othello, directed by Bruce, in which he, of course, gave himself the plum part of the villain. At the end Iago was slashed across the chest with a scimitar, which Bruce clutched and scraped with a fist-full, not of fake blood, but of pink toothpaste. National Service was spent with the Royal Signals at Catterick where he ran the Cary Theatre, directing and playing in many productions. Bruce attended RADA from 1956 to 1958 under the then Principal, John Fernald. Bruce performed with many repertory companies. Before going to RADA he worked at the Spa, Bridlington, the Palace,

The

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Phoenix and the Carpet in 1976-77, as a ‘fence’ in an episode of The Bill. As one of Rose’s fighting boyfriends at a christening in an episode of Keeping Up Appearances and as a pub quizmaster in an episode of The Inspector Lynley Mysteries: quote: “What do you call a group of chimpanzees?” I now come to Bruce’s service with the actors’ union, Equity. He served on the main Council from 1978 to 1980 and again from 1984 to 1994 and also on the London Committee. It was during this time that Bruce again showed his principled nature. With Marius Goring, another friend, and others, Bruce was involved in what he, and they, considered a battle for the soul of the union. He was part of a group who believed that the union existed to represent and fight for the rights and privileges of its members against those who wished to pursue a left-wing political agenda. Roger Moore once said that success in the acting profession was 10% looks (and he would know!), 10% talent and 80% luck. Bruce certainly had the looks. One of his girlfriends once told me that as a young man Bruce was beautiful, although I think that’s going a bit far! He certainly had the talent. Moira and I would watch other actors and say to each other, “Bruce could do that just as well.” We can think of one or two who closely resembled him. Perhaps Bruce didn’t have the luck of the likes of Roger Moore, but he had other things that are far more precious. He had long-term friends and colleagues in the profession and outside who liked and respected him and he had a family who loved him, and I know which is most important. One of his oldest friends, Edmund Pegge, contemporary from St Paul’s and actor, with whom Bruce performed at school in The Gondoliers, among other shows, now living in Australia, summed it up for me. He wrote, “I’m glad he bowed out gracefully with the curtain slowly coming down.”

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134 x 92 flyer.indd 1 THE

R O YA L VA R I ET Y C H A R I T Y F O R M E R L Y

T H E

E N T E R T A I N M E N T

A R T I S T E S'

B E N E V O L E N T

Brighton

Notice from Equity

12/09/2012 11:50

F U N D

CELEBRATING OVER 100 YEARS OF CARE FOR MEMBERS OF THE ENTERTAINMENT PROFESSION

Royal Variety Charity, Brinsworth House, 72 Staines Road, Twickenham, Middx. TW2 5AL 020 8898 8164 / www.royalvarietycharity.org / www.royalvarietyperformance.org

MIGHT THE UNION BE HOLDING MONIES FOR YOU FROM THE 1990s? We are delighted to have reached an amicable resolution of the longstanding problem of how to use the monies received by the union around 1995 and, known as the “Unknown Funds.”

The Royal Variety Charity assists those who’ve worked professionally in the entertainment industry and are in need of help. The charity strives to support all those, both young and old, who’ve worked on the stage, in the wings, in front of a camera, or behind it, as well as all those who have spent their lives working in the numerous support industries dedicated to entertainment. The Royal Variety Charity owns and manages its own residential and nursing care home for entertainers, Brinsworth House in Twickenham, and also offers a nationwide grant scheme to assist those living in their own homes wherever they reside in the UK. The Royal Variety Charity not only offers support to those who have found themselves struggling as a result of ill health, financial hardship or old age, but also to the dependants of all those who have served the entertainment industries.

To request a brochure or to arrange a visit to Brinsworth House, or simply to be added to our Admissions waiting-list, please contact Sheila Powell on 020 8898 8164 ext 207 · sheila@royalvarietycharity.org The Royal Variety Charity are the organisers and beneficiaries of the annual Royal Variety Performance... now viewed by over 152 million television viewers worldwide.

An important part of the resolution is that Equity undertakes to meet the claim of any members or non-members who believe and can produce evidence to show that the Union received residual payments due to them in respect of their performance in independent TV productions retransmitted before about 1998 and that those residuals were not passed on to them.

Therefore, if you or your agent wish to make a claim you should contact the General Secretary of Equity on

0207 379 6000

Patron HM The Queen · Life-President Laurie Mansfield · Chairman Giles Cooper · Est 1908 · Reg Charity No. 206451

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Letters...

THE PRESIDENT WRITES

IT HAS BEEN A BUSY FEW WEEKS. Happiest event was being part of the Equity contingent at Pride in London this year. Beautiful hot day, great turn out, fantastic mood, which were all enough to make us enjoy ourselves in spite of the fact that we, along with the other trade unions, were towards the back of the march... on the other hand the YouTube float was nearby, which was a hoot. As we marched down through the West

shook their heads and said, ‘Yes, it would be lovely, but this is not the way the world works’... so the work is only just beginning. We are trying to change the zeitgeist, so we must keep pushing. Then SDUK (Stage Directors UK) and ourselves organised a campaigning meeting to launch a new stage directors’ claim. About 45 directors in one room focusing on the issues that mattered most to them in order to steer the Working Party in the right direction. Great speeches from Lisa Blair, Tom Hescott and Jeremy Herrin, and Stephen Spence marshalled the various contributions from the floor into a set of priorities. Very successful and positive. It’s true that SDUK was in some sense set up to compensate for Equity’s inability over the years to secure good deals for directors. There was much mutual suspicion at the start, that has gone and the meeting augurs well for a great collaboration. But again, we must keep pushing; 45 turned up but 80 promised to be there, and if this claim is to succeed, we all have to push! We also saw Tracy Brabin in one of the Committee Rooms in Parliament for a

As we marched down through the West End, the cry went out, ‘Hooray... here are the actors!’” End, the cry went out, ‘Hooray... Here are the actors!’ Which wasn’t true actually, as a lot of us weren’t. Our dance committee in particular were dazzling. Two other big events. Following on from last issue’s column, we had the launch of our Manifesto for Casting at that hotbed of trade union activity, the Ivy Club; well chosen, as a packed house showed up, many of whom wouldn’t be seen dead at a trade union event, and those are the people we particularly need to hear the Manifesto’s message. The Head of Casting at ITV spoke in favour of it. Tracy Brabin, the new MP for Batley and Spen and one of our members, spoke too, and Emmanuel Kojo from the Council. The head of BBC casting was slightly miffed that she hadn’t been asked to speak in support, but she wants to come in to talk to us about how to help. All very positive. There were those who quietly

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meeting of Labour’s Acting Up enquiry, which is examining the issue of class in our business, particularly the difficulty of working class kids to get in and succeed. A whole of range of diversity issues were discussed, and a lot of good ground was covered. And one contribution took me totally by surprise: one of the employers’ organisations was represented on the panel that morning, and their spokesperson said that one of the main contributors to this bias against those from less privileged backgrounds was, of course, low pay! How right this person was, and they may be assured that in our future negotiations with organisations such as they represent, that statement will be quoted upfront, hopefully to our mutual benefit! Onward.

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

Theatre Royal thoughts The Theatre Royal Nottingham, which in 2015 celebrated its 150th anniversary, continues to bring the finest touring work to the East Midlands. Following on from our special anniversary we have been working hard in partnership with the University of Nottingham to develop our heritage work and to begin to create a proper archive, both physical and digital, for the venue. Earlier this year we announced that we had been successful with a bid to the Heritage Lottery Fund and are now working with a large team of volunteers. A two-year programme of heritage training, oral history interviews, archive cataloguing and public events are now in place. I am therefore very keen to hear from your readers if they have stories and memories about the Theatre Royal Nottingham they

wish to share or items that they could donate to our archive. If you can help email: david.longford@nottinghamcity.gov.uk David Longford Creative Learning Manager

time that might uncover any details of her career on the stage. Or indeed if you could point me onwards to someone else who might be able to help. Please contact: vandleberry@gmail.com Val Brown

Memories of Minnie? I am a local historian living in Brighton and Hove and I am looking at the life of Miss Minnie Turner, 1866-1948. She lived in Brighton for many years, operating and living in a guest house: she was active in the suffragette movement and was imprisoned in Holloway once. She was unmarried. In particular, I am looking for information about her early life, about which little is known. It would seem from a couple of newspaper clippings that as a young woman she was an actor – she seems to have been a member of the ‘Theatrical Ladies Guild’ in 1898 and also the ‘Actors Association’ in 1905. Hitherto, the theatrical side of her life has not been researched and I wonder whether today any Equity members would be able to shed some light on the theatrical career of this quite remarkable lady? I would be quite happy to pay or make a contribution for any

Celebrate Marilyn Finlay I am writing to invite members to an event to celebrate the life of Marilyn Finlay, who died last November. She and I met on the Women’s Committee and became friends as well as colleagues. Marilyn was chair for a number of years and spoke on behalf of Equity at WTUC as well as at branches and AGMs and ARCs. She was always considered in her arguments and spoke with passion and an authority that was based on experience. As a friend she was always ready to listen and offer the best advice and I shall miss receiving her funny birthday cards. Acting led to writing short stories and plays and the event will focus on readings from her plays. Please join in celebrating her life and work on Saturday 25 November at 7pm in Studio 1, Jackson’s Lane, 269A Archway Rd, London N6 5AA. Susan McGoun

Thanks to Les O’Neill

We wish to pay tribute to Les O’Neill, a long standing member within Equity, who was for many years the secretary of the Merseyside Variety Branch. Les was born in Liverpool on 8 January 1950, was passionate about his family, Everton Football Club, the City of Liverpool, his friends and all things connected with Equity. He joined Equity in 1980 and was elected branch secretary in February 1982. He remained the elected secretary of the Merseyside Branch until his death. His involvement and contribution to the branch and its members is too great to chronicle, but all who knew him remember his love of life, his love of the union, his knowledge of Equity in general and his interest in all of the members. Les’s legacy will live on in Merseyside and the branch members send Les a ‘Tremendous thanks’ and a sad, ‘Goodnight and God Bless Big Guy’. Les was also a member of the Variety Advisory Committee (VAC) and his contribution was invaluable. The Variety Branch secretaries remember him with great fondness for his ready grin, irrepressible good humour - and his Scouse wit. Merseyside Variety Branch and Variety Advisory Committee

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: Micky Baker, Parv Bancil, Roy Barraclough, Geoffrey Bayldon, Ann Beach, Richard Beale, Sam Beazley, Bernard Bennett, Bruce Bennett, Derek Bentham, Michael Bogdanov, Yvonne Bonnamy, Powers Boothe, John Brecknock, Kenneth Bryans, John Camburn, Brian Cant, Duggie Chapman, Claire Chate, Cheko The Clown, Ginger Chilton, Geoff Cotton, Andy Cunningham, Clem Curtis, Dafydd Dafis, Andrew Dallmeyer, Tony Davis, David Dean, Wayne Denver, Arthur Dilkes, Jill Donohue, Norma Dunbar, Kenneth Earle, John Ian Faulding, Caspar Fawden, Phyllis Ferguson, John Forgeham, Donald Francke, Rosemary Frankau, Jane Freeman, Vin Garbutt, Mike Goodenough, Tony Gouveia, Eric Green, Lynette Gridley, Marion Grimaldi, Stefan Gryff, Paul Gyton, Lawrie Hart, Marion Haywood, Tom Hibbert, Ronald Hines, Ginger Folorunso Johnson, Nick Kelly, David Kemp, Michael Lambert, Muriel Daphne Lawford, Carol Lee

Scott, Margaret Lindsay, Lydia Lisle, Adrian Lloyd-James, Duncan MacLean, Knight Mantell, Tina Marian, Barry Martin, Brian Matthew, Peter Messaline, Manny Michael, Sir Roger Moore, Christopher Morahan, Chris Murray, John, Murray Scott, Jean Newlove, John Noakes, Jennifer Oscard, Anita Pallenberg, Belinda Parham, Sophie E Partridge, Willie Payne, John Peacock, Ruth Pearson, Tim Pigott-Smith, Helen Pringle, Norma Procter, Joe Robinson, Maxine Robinson, John Rodgers, Mark Rowan, Peter Sallis, Jacki Santiano, Sean Scanlan, Daphne Sherman, Michael Simpson, Gordon P Sterne, Sandy Strang, Melvin Sullivan, Polly Taylor, Connie Tilton, Stanley Timbrell, Margaret Towner, Trisha Brown Company, Bernard Turgeon, Gilbert Vernon, Alan Vicars, Moray Watson, Jena Wayne, Michael Wearing, Tony Webb (A J Webb), Mavis Wesley, Patrick Westwood, Heathcote Williams

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 8AU Contact: Shelli Dawn, 01685 812779

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

thames variety branch Date of next meeting: 11 Sept, 7pm. The Blue Posts, 81 Newman Street W1T 3E Contact: Nick Putz, 020 8808 3802, nickputz@gmail.com

west of england variety Date of meeting: 11 Sept, 7.45pm. Inn on the Green, 2 Filton Road, Horfield, Bristol BS7 0PA Contact Mary Lane, 07900 848003 cllrmlane@equity.org.uk

brighton & sussex general

Blackpool lights

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: 19 Sept, 7.30pm. SPACE, 6 West Street, Bristol BS2 0BH Contact: equity.bristolwestgen@googlemail.com

BLACKPOOL VARIETY BRANCH does their seaside town proud

cardiff & s wales general The Blackpool Variety Branch reflects the proud entertainment heritage of its seaside town. It is a friendly branch with a diverse membership, made up of theatre, cabaret and circus artists, musicians, band leaders, actors, magicians, children’s entertainers, a ringmaster, DJs, specialist acts and a stage

manager. Some members, such as the newly appointed Secretary Denis Ashkam (who is about to celebrate his 50th year in the industry) bring decades of experience to every meeting. This October, the branch will put on their annual show, hosted by their own Des Day, at the Preston Little Theatre, and future performances are currently

birmingham variety

8SF Contact: Clive Bumstead, 07815 951798, clivebumstead@yahoo.com

Date of next meeting: 26 July, 7.30pm. The Austin Sports and Social Club, 30 Tessall Lane, Longbridge, Birmingham B31 2SF Contact: Alec Powell, alec@alecpowell.co.uk

coventry & leicester variety Date of next meeting: 18 Sep, 8pm. The Ivor Preece Centre, Rugby Road, Coventry CV3 2AY Contact: Sheila Payne, sheila.rodgers@btinternet.com

east anglia variety Next meeting: 14 Aug, 8-10pm. The Canary Club, Norwich NR11RT Contact: Peachy Mead, peachymead@f2s.com

east midlands variety Date of next meeting: First Tuesday of the month (excl August). The Headstocks NG6

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humberside variety branch Date of next meeting: 4 Sept, 7.30pm. Henry Vernone Court, Pier Street, Hull HU1 1UZ Contact: Christie Clifford, equityvbn4@msn.com

manchester & district variety Date of next meeting: 15 Aug, 7.30pm. Monroe’s Hotel, Manchester M1 1PE Contact: Yvonne Joseph, vonniegerry@btinternet.com

merseyside variety Date of next meeting: Second Monday of each month, 7pm. Adelphi Hotel, Ranelagh St, Liverpool, Merseyside L3 5UL Contact: Chris Dale (Chair), 07703 301621

being planned for next year.

blackpool variety

Date of next meeting: First Thursday of month (excl. Aug), 7pm. The Sherman Theatre, Cardiff CF24 4YE Contact: Louisa, stbbrown_ morgan@hotmail.co.uk

Date of next meeting: First Tuesday of the month, 1pm. Blackpool Cricket Club, Stanley Park FY3 9EQ Contact: Denis Askham, denisaskham@yahoo.com

central england general Date of next meeting: TBC Contact: David Edgar, davidedgar@gmx.co.uk

devon & cornwall general Next meeting: 10 September, 2pm. The Acorn, Penzance TR18 4BU Contact: Nigel Howells, equitydevonandcornwall@gmail.com

dorset general Next meeting: 21st September Contact: chris-gallarus@hotmail.co.uk

east of scotland general Date of next meeting: TBC Contact: Catriona Joss, eastofscotlandequity@gmail.com

essex general

Date of next meeting: 2 Sept, 11am. Trinity Methodist Church, Chelmsford CM1 2XB Contact: essexequity@deemardi.com

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

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

kent general Date of next meeting: 2 Sept, 11am. The

isle of man general Date of next meeting: 8 August, 6pm. The Archibald Knox Inn Meeting Room, Onchan Contact: colyn@ colyn.co.uk

north east variety Date of meeting: Contact: Last Tuesday of the Month (excl. Dec). The Alberta Social Club, Railway Street, Jarrow, Tyne & Wear Contact: Steve McGuire, 0120 723 8258, sirstephen2001us@yahoo.co.uk

Isle of Man with a plan

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

south wales variety Date of next meeting: First Tuesday of month, 7.30pm. Tyn-y-Twr Tavern, Baglan SA12

www.equity.org.uk

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

north lancashire & cumbria general Next meeting: TBC Contact: Peter Rylands, peter.rylands@btinternet.com

ne of england general Date of next meeting: TBC Contact: Steve McGuire, sirstephen2001us@yahoo.co.uk

north & east london general Next meeting: Second Saturday of the month (excl. Aug),10:30am. The Park Theatre, Finsbury Park Contact: Karen Singer, nel. equity@gmail.com

north wales general Next Meeting: 28 Sept. Mold Contact: wales@equity.org.uk

north west london general Date of next meeting: Branch picnic 6 Aug, 2pm. The band stand in Golders Hill Park, near Golders Green Contact: Elise Harris, elise@eliseharris.com

oxfordshire general Date of next meeting: 21 Sept, 7.30pm. Friends Meeting House, 42 St Giles, Oxford OX1 3LW Contact: equityoxfordshire@gmail.com

south & se london general Next meeting: Summer Social Picnic on Saturday 19 Aug, 12pm. Tanner Street Park, Bermondsey Contact: Paul Valentine, equitysselondon@gmail.com

west & sw london general

n&w yorkshire variety Date of next meeting: Every third Monday, 7.30pm. George IV Pub, Birkenshaw BD11 2AH Contact: Valerie Jean Mann, val@mrstipsy.co.uk, 0113 285 3848

Avenue Theatre, Central Avenue, Sittingbourne ME10 4 DN Contact: Marie Kelly, 07703 207878, kellygreenproductions@hotmail.co.uk

The Isle of Man General Branch may be Equity’s smallest branch, but it works hard to support the union’s members who live, and work, on the island. As the Isle of Man is a large production base, the branch focusses

on campaigning for casting opportunities for local actors. The welcoming branch invites both local and visiting members to attend their regular meetings in the Archibald Knox in Ochan.

Next meeting: 26 July, 7.00pm. Seven Dials Club, 42 Earlham St, Covent Garden WC2H 9LA. Contact: secretary.equity.wswlon@gmail.com

liverpool

& district general

Next meeting: Summer Social 26 July, 7pm. Constellations, Greenland Contact: Sheila Jones, equityliverpool@gmail.com

yorkshire ridings general Next meeting: 7 Aug, 2pm. Location TBC Contact: Ben Addis, 07775 726868, equity.yrgb@gmail.com

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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

Supporting the children of actors from birth to graduation ADVICE AND RIGHTS HELPLINE 020 7670 0223 BULLYING REPORTING LINE 020 7670 0268 EQUITY DISTRIBUTION TEAM distributions@equity.org.uk

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 Maureen Beattie: Vice President Bryn Evans: Honorary Treasurer TRUSTEES: Ian McKellen, Judi Dench, Penelope Wilton, Johnny Worthy, Roy Hudd, Timothy West 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

Deputy for the 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) Matt Hood Assistant General Secretary (168) Phil Pemberton Head of Communications, Department head (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 Adam Adnyana 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 at 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.

The Actors’ Children’s Trust (ACT) has been helping actor families for over 120 years and is in the fortunate position of being able to increase its grants. We fund actorparents and their children, where acting has been the main part of your professional career. Some families receive a one-off payment, others are with us for some years. An actress with a toddler and a baby was diagnosed with a rare, lifethreatening lung cancer despite having never been a smoker. ACT immediately funded full-time childcare, domestic support, and specialist emotional support for the toddler son. After several years, the actress went in to remission, however her lungs and vocal chords were severely damaged. The actress retrained with additional skills and took new work, knowing that ACT was there. Her children also developed complex health problems and we have been pleased to support them right through to adulthood. ACT’s funding included household bills, childcare, clothing, holidays, specialist therapies and tutoring. We also helped secure benefits and retraining grants.

Two married actors with a son and a daughter were homeless after months of financial crisis. ACT was able to help them secure new housing and to fund removals, furniture and clothing for the children, and essential living costs. The children have developed remarkable creative talents and ACT has been proud to sponsor them. Both actor-parents are now back in work and ACT support will simply be student maintenance grants for the children.

An actor adopted a boy with physical disabilities and autism. When the local authority’s support dwindled ACT was able to fund assessments and therapies quickly, and enable activities including rock climbing and drumming. We also helped with dietery supplements, a sailing trip, and advice on education support and the Education, Health & Care Plan. ACT will be in the wings for this family until their son is 26. His progress has been outstanding thanks to his remarkable parents.

ACT can help with the following: CHILDCARE top-up grants can help actor-parents attend auditions, take jobs and hopefully stay in the profession. SCHOOL COSTS activities including music, sport, drama and dance lessons; uniform and kit, transport, lunches and trips. CRISIS almost every actor-parent faces times of crisis. ACT is here for you and aims to give quick, useful, confidential support. SPECIAL EDUCATIONAL OR MEDICAL NEEDS ACT aims not to duplicate state provision but can fund urgent assessments and help families achieve appropriate provision through an Education, Health and Care Plan. STUDENT GRANTS including university, college and apprenticeship grants at 18+.

SPECIAL ATTENTION LIST The For Your Special Attention list is currently undergoing a review. For ongoing checks and information relating to the list please call 020 7670 0200 or email info@equity.org.uk.

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Can we help your family? Please do get in touch

robert@actorschildren.org | 020 7636 7868 | actorschildren.org |

@actorschildren

break a leg?

If you’ve had an accident that wasn’t your fault, as an Equity member it pays to use your union’s preferred solicitors, Morrish Solicitors LLP, for your Personal Injury claim. Not only will you enjoy efficient and friendly service, but unlike other solicitors who may keep up to 40% of your compensation, with us you will get every penny for yourself. For your FREE Personal Injury Service call 0800 0834967 Complete a claim form at equityinjuryclaims.org.uk Or for more Equity member benefits visit morrishsolicitors.com

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