Sally Hawkins reveals how the union helped her
spring 2012 www.equity.org.uk
Rewarding local talent – we launch Broadcasting in the Nations campaign Get active – be a part of Equity’s Council
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I can act but I won’t pretend
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SOPHIE WARD JOINS OUR CAMPAIGN TO SUPPORT PROFESSIONALS COMING OUT
xxxxxx 2011
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Will you make the most of your retirement? If you’re over 55 and have saved for your retirement, we could help you increase your income
Contents News
04 ITV judgment implications 06 PIP breast implants
> 24
Success stories 10 11
Piracy act on track Westminster parking win
22 >
Cover story 14
I won’t pretend campaign
> 14
Features
20 Council elections 22 Sally Hawkins
YOUR PENSION FUND
You’ve spent your life saving for your retirement
ENHANCED ANNUITIES
If you have health issues you may be able to achieve a higher income ~ we could help you find this
TEMPORARY ANNUITIES
Why commit to a fixed income for life when annuity rates are so low ~ we can advise
First Act Insurance* is the preferred insurance intermediary of Equity *First Act Insurance is a trading name of Hencilla Canworth Authorised and Regulated by the Financial Services Authority under reference number 226263
Plus
08 Meet the membership 13 Member offers 30 Letters 32 Branch update
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32
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ANNUITIES
Your Pension provider might not give you the highest income for your age ~ we could find one that will
If you are thinking of taking an income from your pension shortly, or just need some advice, then please call David Flood on 0208 686 5050
24 Supporting local talent 25 Credits update
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Campaigns
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front of house
upfront
ITV ordered to pay actors’ NI Broadcaster loses court case, but the size of its financial liability could lead to cuts in production
Taxing issues
For a second time ITV has lost its legal battle to establish that it is not responsible for employers’ Class 1 National Insurance Contributions (NICs) for actors it engages. In 2009, it transpired that ITV had been withholding NICs for actors for a number of years. The tribunal ruled that ITV must pay Class 1 NICs for actors it employs and pay back what it owed in contributions. An appeal in 2010 to the First Tier Tax Tribunal failed. This year ITV took this dispute to the Upper Tax Tribunal but once again lost. The Tribunal determined that actors were hired in relation to the time they worked and paid a salary and therefore qualified for Class 1 NICs. So, what does all this mean for actors? The good news is that actors’
Are you worried about having your books inspected by the tax inspectors? A tax inspection can be a nightmare for performers, and accountants fees can quickly rack up.
status as employed earners covered by the Class 1 NI system when they are working on TV is confirmed. Actors and their employers pay into the NIC pot and actors can qualify for benefits when they are not working. Equity has campaigned for many years to maintain this right for actors to accrue welfare benefits so that they can survive in between engagements. But it may not be all good news. The judgment means that ITV and other broadcasters must pay an additional 13.8 per cent in Class 1 NI contributions for all the actors they employ, even those on the highest pay. Will this push negotiated rates of pay down? Might it eat into money available for production budgets? We don’t yet know, but one thing we can be fairly certain of is that the NICs are unlikely to be paid out of ITV’s profits. Another challenge for ITV is how to pay back those NICs they have withheld. Some commentators have estimated that it owes the government millions of pounds. What effect will such a debt have on ITV’s financial stability and production budgets? ITV has the right to appeal the Upper Tax Tribunal decision on a point of law. As we went to press we were awaiting ITV’s decision on whether it would do so.
Equity is investigating an insurance scheme for members that would support you when your books are inspected by HMRC. For a fee of £59 a year the insurance would provide reimbursement of costs up to £75,000 in the event of: Income Tax self-assessment full and aspect enquiries Corporation Tax self-assessment full and aspect enquiries HMRC employer compliance disputes HMRC vat disputes IR35 disputes PAYE and VAT pre-dispute cover Schedule 36 reviews Before the Equity Council decides whether to offer this cover it needs to assess demand. If you would take up this cover please email taxinsurance@equity.org.uk and put YES in the subject line. Only email if you are certain you would buy this cover.
Equity confronts low PAY/no PAY published report outlines 19 action points to tackle this problematic issue Work in the entertainment industry offered at low rates of pay or for no pay at all continues to cause significant concern among members, but what is less clear is what approach Equity should take. Some members believe Equity should try to put a stop to all low pay/no pay work, others think that they should have the freedom to accept low pay/no pay work without hindrance from their union. This thorny issue caused significant debate at Equity’s 2011 Conference. To move policy forward the Equity Council last Autumn set up a working party of members, which after four meetings presented a report to Council at its February 2012 meeting. It was clear to the working party that young people were the most
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likely to be involved in areas of low paid or unpaid work and that women are particularly vulnerable because of dwindling work opportunities as they got older. The Working Party came up with 19 recommendations, all of which were backed by the Council. They include: A leaflet explaining the issues to members and more information on the website Equity to encourage the development of a fringe theatre network
Equity should research the effects of co-productions and look at the work of actors in film school productions Drama schools to be told what are acceptable terms and conditions when they employ Equity members More encouragement to members to fight National Minimum Wage cases Casting websites should be persuaded not to include low pay/no pay work The full report can be downloaded from: http://tinyurl.com/7rb2c8f
Olympic effort secures Games deal opening and closing ceremonies now covered by the union Performers and stage managers working on the opening and closing ceremonies of the London Olympics and Paralympics will work on Equity-supported contracts at a minimum of £600 a week. The contract has been agreed after months of painstaking talks with London Organising Committee Olympic Games (LOCOG) officials. Olympic performers will get basic rights around breaks, working time and payment. There is protection against unfair dismissal and Class 1 National Insurance contributions will be paid, giving artists valuable protection for when the engagement ends. It has been agreed that Equity can have a base at 3 Mills Studios in order to talk with artists, provide advice and recruit members. Equity officials will also be given access at lunchtimes and around the canteens. Equity is continuing discussions about organising an event with other industry bodies for newcomers to the business during the rehearsal period and there will be a regular and high-profile Equity presence at the rehearsals. For further information please contact Paul Fleming on pfleming@equity.org.uk
Apology for passport scandal mea culpa from home office over “actor not a proper job” gaff The Home Office has written to Equity President Malcolm Sinclair apologising for the member of staff who ruled that acting “was not a proper job”. The scandal was sparked when actor Michael Sheldon provided a passport reference for his daughter’s boyfriend. The application was turned down for two reasons, one of which was that acting did not appear on the list of “type of person that would be suitable” to provide a reference. Malcolm Sinclair wrote to Theresa May, home secretary, expressing concern at the passport office’s view of acting. Alan Brown, deputy director of policy at the Passport Service, expressed his regret for what had happened. He wrote: “I share fully your concern about the remark made on the status of acting… please accept my apologies.”
www.equity.org.uk
Christine Payne General Secretary
Would you like to make a difference in the industry and help your fellow professionals? It’s time for the elections for Council, Equity’s ruling body, and we would welcome your participation Equity is proud to be affiliated to Amnesty International and I recently received the latest edition of the Amnesty magazine. On the front cover was Zarganar, the Burmese comedian and our Honorary Life Member, performing at the Secret Policeman’s Ball in New York in March. Following sustained pressure from Equity members, he was released from a Burmese jail last year after being sentenced to 35 years for criticising the government. While performing on stage at Radio City Music Hall he received a standing ovation from the audience that was celebrating 50 years of Amnesty International. He said “For half a century Amnesty has championed the basic freedoms that allow the human intellect, spirit and soul to flourish… In my country we now have a new parliament, a new government and new constitution. But our struggle for democracy and human rights is still far from over. The military still controls the powers and has given themselves 25 per cent of the seats on the parliament… They should give the Burmese comedians 25 per cent of seats… that way half the parliament will be crazy.” Equity has a very proud record of campaigning for performers all over the world and our International Committee for Artists’ Freedom continues to identify where support is needed and give it wherever we can. One of its current campaigns concerns the Belarus Free Theatre. The theatre is forced to perform in secret in its native country, which is run by a regime often described as Europe’s last dictatorship. Natalia Koliada, the company’s artistic director and her husband Nikolai Khalezin, with whom she co-founded the company in 2005, live in the UK with political refugee status, having fled their native country two years ago. They are currently working on a production of King Lear that will be performed in their native Belarusian, which is banned under their country’s regime as the official language is Russian. Two performances at The
Globe in London are guaranteed but the continuing existence of the theatre is under threat through lack of funds. We are also committed to campaigning on our home turf and this magazine is full of examples of campaigns being led by members who are determined to speak out for their fellow professionals, for your work and for your future. It is therefore very important that members are at the heart of the union’s decision-making democracy – the Council, Committees, Working Parties and Branches. And it is vital that the
Union democracy must reflect the industries in which you work” union’s democracy reflects the industries in which you work and the communities that you live in because that’s how the best decisions and action can be taken. This year the Council, the governing body of the union, will be elected. The Council consists 100 per cent of members of this union and this is your chance to decide who will run Equity over the next two years. And this period is going to be very important as we experience the impact of the cuts in television and theatre, renegotiate our television agreements and lobby on the issues that matter, many of which will come out of the blue but need immediate, clear and firm decisions. I hope you will consider standing for the Council and help continue our proud tradition of representing our members who are currently training and looking for work in the business today. You have a powerful voice: use it.
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front of house
In brief...
Democratic change The Council has decided on a further period of consultation, including a discussion at this year’s Annual Representative Conference, before making any decision of the future structure of Equity’s democracy. You can download the current proposals for change at http://tinyurl. com/86c7pyf
Referendum update Three complaints that the Council had broken the rules in last year’s Equity referendum have been dismissed by the Certification Officer for Trades Unions. In the referendum, members decided to change the rules so that Equity can discipline a member who harasses others because of their race, gender, sexuality, etc. The complainants, Madhav Sharma and Dave Eager, called for the referendum decision to be overturned.
CPMA website
The Co-operative Personal Management Association has a new website at www.cpma.coop, or email them at cpmauk@yahoo.co.uk
Award for Anne
Folk singer Anne Lyttle and her late husband Eric have been awarded the Tommy Mackem Scroll of Honour for outstanding contribution to the folk song tradition.
Council elections
If you have not received a nomination form for the Council elections with this magazine please contact: elections@equity.org.uk. For further details, see page 20.
Conference observers If you want to be an observer at the Equity conference in May, please fill in the form on page 29.
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Guidance on PIP breast implants Equity members are entitled to a free consultation with our lawyers Much has been written in the media recently about PIP breast implants. It is estimated that as many as 50,000 women, including thousands in the UK, could have received these implants. If you are an Equity member and have concerns, you are entitled to a free consultation with our lawyers, Morrish Solicitors – please call 0808 156 1440 to speak with one of their team. I have PIP implants. What should I do? If you haven’t already seen your GP you should make an appointment as soon as possible and register the fact that you have PIP implants. You may be eligible for an ultrasound scan, which will enable your doctor to determine whether your implants are damaged or ruptured. If you require further surgery to remove and replace your implants and you were initially treated on the NHS this may be available free of charge. In most cases however treatment was performed privately, and if this is the case with you, then you should contact the clinic and ask to see your surgeon for a follow up appointment. I have been told that my PIP implants have ruptured. Where do I stand legally? Unfortunately, many of the victims we have spoken with have been previously misadvised. These are not personal injury or medical negligence claims but product liability claims. In law, the Supply of Goods and Services Act 1982 is the helpful legislation. It provides that goods purchased must be of merchantable / satisfactory quality and if they are defective you are
entitled to be compensated. If the implants have not yet ruptured, we think that the increased risk of rupture still makes them ‘defective’. The private clinic has disappeared. Can I still make a claim? All clinics should have been insured and we would hope to be able to identify these insurers. I have some symptoms. Is there any evidence linking these symptoms to the implants? The UK government’s medical advisors do not presently believe there is a link. Your doctor will know the latest advice when it is given by the government. I want my implants to be removed. If they are not ruptured can I still claim back the cost? Possibly. We understand that your primary concern is for your health and so you may want to have your implants removed and replaced. If you pay for this, you may be able to reclaim such costs, but you will require legal advice and assistance to do so – please don’t hesitate to call us to discuss your individual circumstances.
meet the membership
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k a e r f e ’I m th e m o h e k a t n a c u yo m u m r u o y o t
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Sam Wills spent many years as a street perform er before achieving criti acclaim for his ‘New Va cal riety’ act, The Boy with the Tape on His Face
Q
How did you get into the business? I was given a magic set as a child and then learnt to juggle – I just wanted to show off in front of an audience. Later I became an apprentice to a clown and trained at a circus school. After several years’ street performing I made the transition indoors and just kept developing as a performer.
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What other acts do you admire? I am a big Buster Keaton fan and love his physicality. Plus, I’ll always have a soft spot for shows such as Jim Rose Circus as I spent many years hammering nails up my nose.
Matt was speaking to Phil Pemberton. Photos by Jannica Honey
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How did you develop The Boy with the Tape on his Face? Originally it was just a five minute slot when I got bored during my other show. When I was working on the street I noticed that many acts drag out their performance, building it to a crescendo. Sometimes I found myself thinking ‘just do something!’. My style developed into a fast and frantic show – I wanted to overwhelm an audience. In a 20 minute slot in a comedy club I would aim to do about 35 tricks. ‘The Boy’ came about when I decided to challenge myself to try a silent character that did no tricks at all.
Q
The Boy is quite a quirky character, where do the ideas come from? Music is a great inspiration for me, although the endless choice of Spotify is too much. Many of the ideas come from my local shop. It’s one of those neighbourhood
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places that appears to sell absolutely everything, from vitamins to underwear. I recently went in and bought seven plungers, the woman behind the counter never asks why I want the collection of odd items I get, but I guess she thinks I’m a bit bonkers. The character of the Boy has an element of the boy next door and I’ve been described as “the freak you could take home to
Sam gets a lot of his inspiration from his local general store. His most recent purchase was seven plungers
your mum”. It’s comedic and accessible; I’m sure there are people who can’t stand what I do because of that, but I enjoy the fact that I can entertain an audience of any sort of age.
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What’s the main difference between street and stage performance? Street shows are like the bungee jumping of performance – you’ve got to dive in and get people’s attention straight away and hold it. On stage with a paying audience you know they are ready for a show, you can choose to take your time with your act in an hour’s performance and use the material that is suitable for the venue and the audience. When you’ve got them there, they’re ready to go on a journey with you.
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Do you see yourself as part of a wave of ‘New Variety’ acts? I have heard the term, but there are many titles out there that are difficult to define, such as ‘neo-burlesque’. I am not against the word ‘variety’, but I prefer the term ‘entertainer’. In terms of styles of performance I think it does go round in circles, with different approaches getting their chance of being fashionable.
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Will The Boy ever grow up? I would love to see the live show take a bigger stage. It would be amazing to take it to the level of a West End show. A full interactive set and taking the audience interaction to a different level would be great fun.
As a street performer I spent years hammering nails up my nose”
success stories
firms fail to stop Piracy act
Westminster parking win
digitial economy act set to go ahead as BT and Talk Talk lose court battle to halt it The Court of Appeal Judges have handed down their judgment on the Judicial Review of the Digital Economy Act, following two failed appeal attempts by BT and TalkTalk to appeal an earlier decision. The Creative Industries ‘interested parties’, which has supported the government throughout the Judicial Review process, are again calling on BT/TalkTalk to now put the litigation behind them and join the creative sector and the government in implementing the Digital Economy Act. Commenting on the High Court ruling on the Digital Economy Act (DEA) Judicial Review appeal, Equity General Secretary Christine Payne said: “Once again the Court is on the side of the almost two million workers in the creative industries whose livelihoods are put at risk because creative content is stolen on a daily basis. Once again a Judge has made it extremely clear that the Digital Economy Act is a fair, focused, proportionate and efficient system for consumers and the creative industry. Rather than individuals being hauled into court, the DEA makes it possible to conduct a mass consumer education programme. BT and TalkTalk need to stop fighting and start obeying the law.” John McVay, chief executive of PACT and spokesperson for the Creative Industries ‘interested parties’ added: “We always believed that the Judicial Review was misconceived. Rather than needlessly spending more time and money on further legal challenges, BT and TalkTalk now need to focus on working with rights holders and the government in implementing the DEA with immediate effect.”
Following a vigorous campaign from Equity members, London’s Westminster Council has ditched plans for extra parking charges in the West End. The council wanted to extend on-street parking restrictions to midnight from Monday to Saturday and between 1pm and 6pm on Sundays. This would have a huge impact on those working unsocial hours in the West End, particularly women and more vulnerable workers who have to use their own transport at times when public transport is not running. The Centre for Economics and Business Research estimated that the move would see the area’s hotels, restaurants, pubs and theatres lose £714m. As a result businesses would cut more than 5,000 jobs to compensate for lost income.
Geoff Taylor, BPI chief executive, commented: “The courts have confirmed, once again, that the Digital Economy Act is legal, proportionate and fair and can now be implemented. The ISPs’ failed legal challenge has meant another year of harm to British musicians and creators from illegal filesharing. The ISPs now need to work constructively with Government and rights holders to implement the Act.” The president of the Film Distributors’ Association, Lord Puttnam CBE said: “Hopefully, this brings to an end a long chapter of uncertainty, and the DEA can now help in implementing a mass consumer education programme so that people, especially young people, can come to appreciate the damage piracy inflicts on the whole of the creative community.” Lavinia Carey, director general of the British Video Association commented: “The British Video Association, whose members are blighted by the endemic use of unlawful P2P filesharing to avoid paying for video content, is delighted that the government can now press on with implementation of the 2010 Digital Economy Act. The DEA offers a fair, proportionate and entirely reasonable way to help promote a change in behaviour. Several other countries are adopting this measure and it would be bad for Britain’s creative industries to be left behind more forward-thinking nations who are supporting their creative economies at this difficult time of transition towards increased digital consumption during this period of recession.”
Performer proves a contract needs to be fair artist’s win in court highlights the fact that an unfair contract is not legally binding
Get singing: Live Music bill is passed The Live Music Act has now been passed by parliament and will come into force in autumn 2012. The new legislation means that small venues in England and Wales – those that are under a 200-person capacity – will no longer need permission from the local authority to host performances of live amplified music between the hours of 8am and 11pm. Equity welcomes this news as we have been working with the minister for tourism and
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heritage John Penrose and Department for Culture, Media and Sport licensing officials for some time on this issue. As it passed through the Lords, Lord Clement Jones thanked those who helped the Bill become law. Joking that he wanted to hand out “my own Brit awards”, he mentioned Equity’s contribution and said: “It is the culmination of five years of concerted campaigning by many people.”
Portrait: Simon Richardson
Thinkstock, Rex Features, Bigstock
campaign to get red tape cut for small music venues is a success
A contract must be fair to be legally binding, a fact that was illustrated in a recent legal case taken on by Equity in the County Court. In some fields of work not covered by Equity contracts the contracts offered to artists are likely to include terms heavily weighted against them, which they are forced to accept or not do the job. This is particularly apparent with promoters that book newer acts, purporting to help them break through into new areas of work. This is a situation that Equity member Quilla Constance (pictured above) found herself in after agreeing to perform her act for promoters Feedme Music Ltd. Although well established in the performance art and higher education fields, Quilla was looking to increase her recognition on the live music circuit, working towards being signed as a recording artist, and came across this promoter in the
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Unsigned Guide. She contacted them through their website and, via email correspondence and an online booking process, agreed to perform at a gig with another live act at a venue in Soho. The terms of the agreement required
I felt completely let down when the gig was cancelled” Quilla to sell tickets and heavily promote the gig and in return she would be paid a fee based on her ticket sales, on a scale between zero and £520, rather than a guaranteed fee for the performance. Quilla did this and spent more than £350 on
getting posters and flyers printed and on PR. Around six weeks before the gig, however, she was informed by Feedme Music that the gig had been cancelled. A term in Feedme Music’s contract allowed them to cancel for any reason; however, if Quilla had wanted to cancel, she would have had to pay a fee to Feedme Music to do so. Quilla brought her claim to Equity who, after failing to secure any compensation amicably, took the matter to court citing the Unfair Contract Terms Act 1977. At the hearing in Lambeth County Court the judge upheld the claim that the clause was unfair, found Feedme Music in breach of contract and ordered that they pay for Quilla’s ticket sales and awarded costs. Quilla said: “I worked really hard to promote the event, so I felt completely let down by the promoter and venue when the gig was cancelled. I am delighted with the outcome and grateful for Equity’s support in challenging the fairness of this contract.”
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success stories
Legal victory on Mamma Mia Equity member receives compensation following an injury on tour
Les Mis cast win royalties row Cast members from the 1985 production of Les Miserables will continue to receive royalties after settling dispute Actors from the 1985 recording of Les Miserables were shocked to discover that First Night Records, the company that released the album, stopped paying out royalties to them at the end of last year. First Night Records claimed that its contractual duty to pay royalties had elapsed at that time.
These royalty cheques can help pay a fuel bill, it’s not insubstantial sums of money” Actors who sang on the original album, including Peter Polycarpou and Michael Ball were unhappy with how First Night handled the matter and a number of performers raised the issue with Equity. “The album has provided First Night Records with a huge revenue source over the years; it has recouped many times over,” said Peter Polycarpou, who is also a member of the Equity Council. “It’s not
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pennies we’re talking about here. Sometimes these royalty cheques can help pay a fuel bill, an electricity bill – we’re not talking about insubstantial sums of money.” The album is expected to generate more sales in the coming year following the continuing success of Susan Boyle’s version of I Dreamed a Dream. A film of Les Miserables is also due out in December this year, directed by Tom Hopper (most recently known for The King’s Speech) and starring Hugh Jackman and Russel Crowe. Through Equity members’ complaints and union intervention, First Night Records has reinstated royalties for performers on the original cast recording of the show. Equity has also undertaken to start talks with British Phonographic Industry (BPI) about renewing its agreement with them so as to avoid a problem similiar to this occuring again. Martin Brown, assistant general secretary at Equity said: “We are delighted that the problem over royalty payments to the original cast of Les Miserables has been settled and we welcome the opportunity to have talks with the BPI about updating and renewing our agreement.” Les Miserables opened at the Barbican Centre in London on 8 October 1985. It is the second longest-running musical in the world after The Fantasticks.
An Equity member has accepted £17,500 compensation for substantial injuries to her knee after she tripped on a backstage step that had been added without briefing cast members during an international tour of Mamma Mia. Anita Booth was appearing in the role of Tanya and the tour opened in Bristol, in a traditional theatre, and then moved to Vilnius, Lithuania, where the venue was an ice hockey arena. To allow the set to work within the arena a new step was added to the exit into the downstage left wing, but the producers failed to brief the cast members about this. On the first day in the Vilnius Arena, Anita had performed promo numbers on the brightly lit stage and was then asked to make her way quickly into the wings to reach the auditorium for interviews with the local media, these to be done while still dressed in full ‘Super Trouper’ costume, complete with the trademark large platform boots. Unfortunately she fell down the step and received extensive bruising to her body and an injury to her right knee. Although Anita attempted to continue with the tour for a number of weeks, when the leg finally gave way she was unable to perform and her employment was ended. Anita contacted Equity and the union’s lawyers began legal proceedings that resulted in the production company’s insurers paying the full claim.
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 acting courses Central School of Speech & Drama is offering 20% off the following short courses for adults (18+) in October, January and April: Voice for PerformanceAn Introduction and Directing. Also, 20% off the Summer School courses: Combat & Stage Fighting, Voice Fundamentals 1: Good Voice Use, Voice Fundamentals 2: Voice in Performance, Musical Theatre, Directed Scenes and Liberating the Text with Nickolas Grace. Courses are due to run in July and August 2012. For more information please visit the website www.cssd.ac.uk, call 020 7449 1643, email spcd@cssd.ac.uk
audition coach Manchester-based award-winning director Martin Harris offers one-to-one sessions for audition piece preparation and sight-reading tuition. Can help you select the right pieces for you and direct them to your best advantage. 20% discount to Equity members. Web: www.auditioncoach.co.uk Tel: 07788 723570
hair removal bupa 10% discount when joining BUPA private health scheme. Please call Chris Barker on 07971 423655 or 01784 893280 for details.
cinema tickets alexander technique Individual lessons at Gilbert Street, Nr Bond Street, London W1. 20% discount to members. Nineteen years of teaching performers: improving poise and confidence, preventing backache and vocal strain. For further info phone Kate Kelly 0845 3479389
allphoto london is offering head shots/portfolio shots for £100 (£50 discount for Equity members). A session includes: One hour photo session in our studio in Central London; up to four changes of clothing; up to 4-5 changes of lighting and/or backgrounds; different poses and captures (full body, 3/4, 1/2, head shot). Get all the pictures in full resolution on CD (100-150 shots). Discounts for other services can be discussed separately. For further information contact Paul at: paul@allPhotoLondon.com, tel. 07799 577512, www.allPhotoLondon.com
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
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discount by entering a unique code (called a coupon code) and clicking ‘apply’ on the order summary page. The total price of the item(s) ordered will then be reduced by 10%. The code is EQUITY (case sensitive, ie enter capital letters). We hope all Equity members will enjoy using our website at: www.flowersdelivereduk.com
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, Phoenix Arts Leicester, Broadway Cinema Nottingham, Showroom Sheffield, NFT.
Special offer
20% off dry cleaning Fantasy Cleaners will collect and deliver throughout London. Most customers ring up and book a collection by phone (or online) and then the items are delivered back in a few days. Equity members receive 20% discount on all dry cleaning by mentioning Equity when paying/booking. Call 020 7498 3355, email info@fantasycleaners.com
flowers delivered UK Sensational floral arrangements of breathtaking beauty carefully hand-delivered by special courier six days a week throughout mainland Britain. Equity members can enjoy a
Pulsar-permanent hair removal and skin treatments. Pigmentation, spots, photorejuvenation and more. IPL-intense pulsed light therapy. More advanced than laser—never shave again. Pain-free and with no side effects. For men and women—all skin and hair types. 10-20% discount only for Equity members. Minimum fee applies to house visits. Contact Dr Succar on 020 8848 8288 or www.natura.org.uk
michael barnes hairdressing 40% off all cutting and colouring on your first visit. 20% off all services whenever you visit after that! 224 Shaftesbury Avenue, London WC2. Tel: 020 7836 7152.
phoenix artist club Save over 50% on annual membership. A private membership club for professionals in the entertainment and media industry, open Mon-Sat 5pm-2am (last entry 1am) with hot food served until 9pm. This quirky gem is once visited, never forgotten. Located below the Phoenix Theatre, 1 Phoenix Street, Charing Cross Road, London WC2H 0DT. Tel 020 7836 1077 www.phoenixartistclub.com Equity members will have the £120 annual membership reduced to only £50 on completion of an application form and presentation of their paid-up Equity Card. Please visit the venue during opening hours in person to apply.
rac 25% off Royal Automobile Club Rescue breakdown cover. This year, next year, every year. Membership from £33. Call 0800 581 077 and quote code: GE0538.
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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campaign
Anthony Sher
Pride & prejudice
I think theatre in this country is very grown up about coming out and I don’t think it makes any difference in that world. Television and film is different, particularly Hollywood. Ian McKellen has made fantastic strides there. He was the first out actor to be nominated for an Oscar, so change can happen. But if all the gay actors in Hollywood had come out over the years then the situation would be different today. From my perspective it became more pressing to be open about who I was. That seemed more important than career issues. I certainly know that there is peace to be had when you come out.
A recent Equity survey raised questions about how safe it is to be honest about your sexual orientation as a performer. This has led to the union launching a campaign to show Equity’s and fellow members’ support for entertainment professionals who are concerned about coming out Photography Paul Stuart for Equity Words Phil Pemberton
T
he entertainment profession is generally perceived as providing an open-minded and safe working environment, but Equity members have spoken about their fears of missing out on career opportunities if their employers are aware of their sexual orientation. In an effort to get a clearer picture on this and related issues, a survey was undertaken in the autumn of 2011 by the union’s lesbian, gay, bisexual and transgender (LGBT ) committee and it was open to any Equity member to complete. The full analysis of the responses is yet to be formulated, but the initial findings caused the committee some concern. In a result that generated headlines across the media, 57% of respondents said they were not open about their sexual orientation to their agent and 35% revealed that they had experienced homophobia in their professional lives. As a consequence, the committee felt that LGBT professionals needed to feel more supported in the industry and it is now
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launching a campaign featuring a number of performers who believe their working lives have benefited from coming out. “Being out definitely allows me to feel a lot freer with myself, with other people and towards work,” says actor Stephen Hoo, who is part of the campaign, as is actress Olivette Cole-Wilson, who adds: “Confidence is definitely something that being out enhances on a personal level as I feel I would not be giving all of myself if I had to hide a part of me.” But this initiative is not about demanding artists should come out, as presenter Amy Lamé explains: “I don’t think people should be pressured into coming out, but they should be assured that, if and when they want to, the union will support them if they are discriminated against.” The campaign will feature a series of posters containing the portraits and quotes shown in this article and the committee is also keen for members to share their experience of being LGBT in the industry. Please visit the Equity site at: www.equity.org.uk/iwontpretend
> www.equity.org.uk
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campaign
Chris New
Amy Lamé
My agent advised me not to come out and it can be a frightening decision to stand up against that view of the industry, especially if you’re new to the business as I was at the time. But if it ever gets to the day where people look back on my career and say “He obviously didn’t do very well because he was openly gay” then that’s a bullet I’m willing to take. The responsibility is on all of us, older and younger, working or not and at different levels of our careers, to look out for each other and provide advice if it’s needed. People need to come out in their own time, but they also need to know that support is there for them.
All my work – whether it be hosting, performing, broadcasting – is highly personal and I have never hidden my truth, or been asked to by anyone I have worked with. I think if you are honest and open it’s hard for people to use it against you… and if they do, then it’s definitely their problem! I think everyone should be able to choose the best path for them. Coming out can be complicated, messy and takes guts. I don’t think people should be pressured into coming out, but they should be assured that, if and when they want to, the union will support them if they are discriminated against.
Olivette Cole-Wilson Confidence is definitely something that being out enhances on a personal level as I feel I would not be giving all of myself if I had to hide a part of me. During my career I haven’t experienced overt homophobia but I have felt subtle hostility from some fellow actors on a couple of occasions. I was involved in a Theatre in Education tour a few years ago where the subject was around difference and I played a number of parts, one of which was a lesbian parent. One school refused to have the show on and we were asked to leave. So there is still a lot of work to do.
Malcolm Sinclair Acting at its finest is about telling the truth, so being honest about yourself is always going to benefit your craft. The best way we can tackle the fears people may have about coming out, particularly in terms of casting, is to keep talking about the issue and supporting each other
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www.equity.org.uk
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campaign
Sophie Ward There is homophobia in our industry as in any other but not necessarily on a personal level, it is more to do with financial implications – will this person sell a movie or a TV show? In the theatre, sexual orientation has less impact, maybe because the suspension of disbelief is already bigger but also because the stories are different. It is a shame that an actor’s personal life ever intrudes upon the public consciousness because it gets in the way of the storytelling, but I don’t believe equality can achieve any progress until enough people make a racket.
Ruby Diamond Being true to myself has made me so happy, and this inner happiness seems to radiate to others. Having nothing to hide, I have become more open and extrovert. From being almost friendless, I’ve never had as many friends as I have now, and from all walks of life, and my existing relationships have survived my change. Confidence was low at first, but it gradually builds until you wonder what you were worried about. I’m primarily still a variety artist, but having had acting training and experience as a man, I hope to further my career as an actress.
Clare Summerskill There is a huge problem of lesbian invisibility in the entertainment industry. My own experiences of being a jobbing actress was that I always came out in the company but I’m pretty sure I’d never have been employed had people known I was a lesbian before I was cast. Whether we like it or not, we live in a celebrity culture and we need high-profile lesbian role models to come out and say “It’s ok to be to be gay and you will still get roles. You still will get employed. You won’t be discriminated against”. The portrayal of lesbians on screen should also reflect their real lives and also their authentic appearances and, if at all possible, I believe that they should be played by lesbians.
Stephen Hoo Being out in the profession definitely allows me to feel a lot freer with myself, with other people and towards work. I can still remember the horrid heavy feeling of secrecy and being trapped in my head about my thoughts and feelings at school. If I had to bring all that to work I’d be miserable for sure. I want to enjoy my life and work. Being open and free and not worrying about hiding is part of that. We need more people to be vocal and find ways to enlighten casting directors and the industry to look beyond an actors’ personal life and preferences.
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www.equity.org.uk
Council elections
A
Equity is proud to represent the breadth of the industry, from hypnotists to Hollywood stars. All of these views need to be represented on the Equity Council, so why not be a part of it?
If you’ve ever felt frustrated with the profession this is your chance to make your point at the highest level of the union”
ruling body. If you have ever felt frustrated at the way the profession works, or the position Equity takes on policy issues, this is the ideal moment to get involved and make your point at the highest level of the union. Councillors are elected from the membership in elections that take place every two years and now is your opportunity to put yourself up for a post. Included with this magazine is a nomination form, please use it. The Council consists of 46 members. These seats cover general interest areas and specific sections such as Variety, Light Entertainment and Circus, Stage Management, Choreographers, Walk-on Artists and others, as well as Northern Ireland, Scotland and Wales and regional areas of England. It usually meets 12 times per year unless extra, special meetings are called to discuss important matters that may unexpectedly occur and need prompt action. The meetings take place at Equity’s Guild House office in Covent Garden, London and expenses are paid. If you are anxious because you have never served on a committee or governing body before, don’t worry – Equity provides a induction day for new Councillors. This will give you the confidence to fully engage with and vote on motions when in Council. Comedian Jo Brand enjoyed her time on the ruling body, commenting: “I think you do feel you have achieved something by working for an organisation like Equity because you feel you have moved things forward, not only improving things for yourself but for other people as well. “To the anxious people, I’d say there’s nothing to be nervous about. I met a lot of very nice people and found the whole thing really interesting.” So if you would like to make a positive impact on the daily working lives of entertainment professionals fill in the nomination form and put yourself up for election. If you have not received the nomination form with the magazine, get in touch with us by email: elections@equity.org.uk or call: 020 7670 0259.
Rex features, Corbis
A call to action
re there enough roles for older women? Should actors be paid for working on the Fringe? Does theatre get enough government support? These issues and countless more are debated on a regular basis by the Equity Council, the union’s
Equity councillors Throughout its history, high-profile members have worked with their fellow professionals to improve the industry 1940s
1960s
1990s
Laurence Olivier (1945)
Irene Worth (1966)
Tony Robinson (1998)
1950s
2000s
Richard Attenborough (1954)
Jo Brand (2000)
1980s Kenneth Williams (1982)
1930s
1970s
Gertrude Lawrence (1934)
Glenda Jackson (1973)
www.equity.org.uk
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interview
All’s well that ends well
Sally Hawkins needed Equity’s help when she was injured on a film set and the insurance company refused to pay. Here, she recalls the incident and also reflects on the positive side of the movie business
What projects are you currently working on? I am about to fly to NYC to start filming Lucky Dog. Phil Morrison (Junebug) is directing with Paul Giamatti and Paul Rudd also starring. It’s a beautiful and funny script. I am very excited, if a little nervous. Do you think the Oscars got it right this year? I would have loved to have seen Tyrannosaur directed by Paddy Considine up there, along with Olivia Coleman for Best Actress. Also Lynne Ramsay for We Need to Talk About Kevin with Tilda Swinton for Best Actress. Such precious gems are always overlooked by the Oscars. But then we know what’s what!
Interview: Phil Pemberton. Photos: ©Yoram Kahana/Shooting Star/eyevine, Corbis
Is there a difference between acting for stage and screen? Yes, the technique is different. For film, an actor doesn’t have to ‘project’ so much as the camera does that for you. The audience is allowed in to see your thoughts in close-up, whereas with theatre you have to ‘throw’ it out to the audience. But the thoughts and the roots of the thoughts are the same.
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What’s your view on 3D? I have only seen one film in 3D and that was Herzog’s Cave of Forgotten Dreams and I loved it, as it was a beautiful film and the 3D aspect didn’t dominate. Herzog used it sparingly to illustrate and brought these beautiful ancient paintings to life, it was quite magical. He used it like an artist, as if he was intrigued by the possibility of adding an extra dimension to film. I think if it’s used cleverly it can add an extra dimension but I think if 3D is the main attraction then it’s a bit dull. Can you tell me how the accident on set occurred? It was comic scene ‘fight’ between me and the male lead. I ended up on my colleague’s back and then had to get ‘thrown off’ as he pretended to strike me in the side of the head. I was in a wedding dress and high heels at the time. We repeated the scene many times on unsteady ground. They were covering many angles in many different shots. And the last time I fell was obviously one too many. I felt the crack in my collar bone and can almost still hear it as I remember the fall in slow motion. Oh, it still makes my stomach turn thinking about it even now!
spring 2012
Equity were fantastic. They were immediately there as this huge support to lean on”
How did you feel about the film company’s insurance firm’s refusal to accept responsibility? It was upsetting and frustrating. You go through it emotionally as well as physically. It did drain me. When an entire insurance company disputes something you have personally experienced it makes you question yourself. But it can affect everything. When it was all over I felt a weight immediately lift. It was quite extraordinary. Something went from me that I had obviously been carrying around for a few years. Were you pleased to have the backing of Equity? I don’t know where I would be without Equity. They were fantastic. They were immediately there as this huge support to lean on. I am forever grateful to Equity for the help I received. I really could not have done it without their backing. I was introduced to a wonderful lawyer Simon Wilson, who is employed by Equity to deal with such cases. He was diligent and worked so incredibly hard on my behalf, collecting all evidence, witness statements, medical reports. He was in close contact with me over the years it took. I never thought we would get there. But he never gave it up. It was very inspiring and I learnt a lot from the whole experience. What UK theatre show are you keen to see? I will be booking to see Mark Rylance in Richard III at The Globe. He is such a special theatre performer. He has a kind of magic and it’s a gift to watch him. Is there anybody you would particularly like to work with? Yes, so many! I would love to work with Philip Seymour Hoffman (both as an actor and as director), Tilda Swinton, Samantha Morton (she is extraordinary), Paul Thomas Anderson, Andrea Arnold just to name a few… oh and Robert De Niro please. Yes, that would be most lovely. If you were not an actor, what would you be? Not sure how good an artist I would have been, but I still like to paint. Even if it’s just for me, I find it relaxing and messy! I’m bit of a hoarder so probably could open a little shop full of treasure and shiny, girly stuff. It would be selling the stuff on I’d find difficult. There’d be a few fights with customers. www.equity.org.uk/legal-support
In 2009, Sally picked up the Golden Globe award for best actress in a comedy for her role in Mike Leigh’s Happy Go Lucky
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campaigns
Broadcasting in the nations
10,000 people back TV credits
Campaign launched to convince industry to create more work outside London and employ the wealth of local talent in Scotland, Wales and Northern Island Equity is calling on the entertainment industry and governments to invest in programmes made in Scotland, Wales and Northern Ireland. Currently, less than eight per cent of all spending by public service channels goes to productions in these areas. “One of the issues our members have is often a programme is labelled ‘BBC Northern Ireland’, ‘BBC Scotland’ or ‘BBC Wales’ but in reality there are few – if any – opportunities for performers in the nations to appear in them,” said Stephen Spence, Equity’s assistant general secretary. “Our members feel if it’s labelled BBC Scotland, it should be made in Scotland and have Scottish performers, not exclusively, but they should have an opportunity to be in it.” Members are frustrated at not getting local opportunities, particularly because they believe there is a wealth of talent outside of London. “There’s a perception
More than 10,000 viewers and Equity members have completed a survey about TV credits and their views will make alarming reading for any broadcaster. Just 2.2% believe that credits are unimportant for viewers. Even fewer (1.1%) think they are not important for actors. Only 7.8% like having on-screen information about the next programme while the credits are running, a massive 95.2% dislike split-screening and squeezing credits, only 3.8% think online credits are a good substitute and 88.7% get very annoyed at the way credits have become unreadable. The report of the survey (pictured) has now be sent to key people in broadcasting, such as Mark Thompson at the BBC. As part of this campaign, Equity has arranged for an Early Day Motion to be put down in the House of Commons, which states: “Television credits displayed at the end of programmes are crucial; it displays recognition of the work of all those who have contributed to creating the programme and helps the skilled workforce to advertise their skills to prospective employers.” Download the survey at http://tinyurl.com/7j5hc3j
among the media elite that you can’t be any good unless you go to London, but why shouldn’t Scottish performers and crew be able to make a living in their own country?,” said actor Michael Mackenzie. A great example of how investing locally can reap rewards is the success of the film The Shore, which won the live action short film category at the Oscars 2012. The movie, which tells a story of reconciliation through the eyes of a returning emigrant, was shot on location at Coney Island, Co Down, Northern Island and starred local actors Ciaran Hinds, Conleth Hill and Equity Council member Maggie Cronin. According to Ofcom, 61.8% of spending by public service broadcasting channels in 2010 went to productions made within the M25. Productions in Scotland received 4.6% of spending, Wales 2.6% and Northern Ireland 0.4%.
Equity and the Writers’ Guild have denounced the imposition of a supporter of a far right party as director of the New Theatre in Budapest, Hungary. Gyorgy Dorner supports the antiRoma, anti-gay and anti-semitic party Jobbik. His policy is to stop producing “foreign garbage” and concentrate on Hungarian plays, including those by Istvan Csurka, an anti-semite. The The imposed change at the New New Theatre Theatre has provoked protests from director plans to theatre-makers throughout Europe stop producing and beyond. “foreign garbage” Actor Sam West, Writers’ Guild president David Edgar and Equity President Malcolm Sinclair (pictured)
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recently handed in a statement to the Hungarian Embassy, protesting at this development. The text of the Equity/ Guild statement was published as a letter in the Guardian, signed by 68 actors, playwrights and directors. Actor signatories included Henry Goodman, Martin Jarvis and Zoe Wanamaker. In response to this campaign, Equity has received a letter from David Lidington MP, minister for Europe. He relates that the British Embassy in Budapest has noted that the mayor of Budapest has publicly stated that he will not tolerate any sign of anti-semiticism in the New Theatre. He shares Equity’s concerns about the theatre and will continue to monitor developments.
www.equity.org.uk
Marcus clackson, phil adams
Equity denounces far right director of Budapest theatre
Battling for Birmingham Equity Member Tracey briggs has galvanised opposition to the BBC’s plans to slash productions in the midlands Members in the West Midlands area have been working hard with local politicians to build a coalition against the BBC cuts. Sterling work by Midlands Area Committee member Tracey Briggs and fellow Equity members has resulted in local MPs denouncing the BBC’s decision to cut programming in Birmingham. Under current BBC plans, 22% of local radio output will go, at a time when listening is up. Current affairs and investigative programming will be cut. By the end of 2012, there will be almost no television or radio made for the national networks from Birmingham. Tracey said: “This is not just about the loss of 150 jobs from our region, but the
huge knock-on effect of the loss of BBC production made for the national network from our region. Soon we will never see ‘Made by BBC Birmingham’ on our television screens or hear this said on national radio broadcasts. Birmingham and the Midlands region will become invisible on the national network. “Without the BBC, the Midlands will become culturally marginalised in terms of national broadcasting; its actors, writers and creative talent will be silenced and forced to tell stories of and from other regions. Its enormous population will be denied a voice on the airwaves.” Members in the Midlands area believe BBC Birmingham could become a ‘Centre of Excellence’ for radio drama and are proposing a motion to Equity’s annual conference in May asking the Council to back this plan. Tracey adds: “In Birmingham we have one of the best studios and a fantastic radio pedigree; surely this is something that should be built on?”.
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policy update
In appreciation
Promoting Equity’s campaigning to government and forming partnerships are vital to members’ interests. Here are the latest developments in policy
Following Council’s endorsement of the Low Pay/No Pay and Rights Working Party report, Equity has written to Hazel Blears, who is planning to act on unpaid internships and work experience in the charitable/NGO sector. Equity will also provide a submission to the Cabinet Office Review of the Charities Act currently under way. The Review is looking at a number of issues including public benefit and the definition of charity. Equity will raise a number of those issues raised in the letter to Hazel Blears. Further information and a link to the survey for members of the general public to provide their views are available from: http://tinyurl.com/7wdnopx
Funding cuts
Private giving down
As many local authorities conclude their budget discussions in this quarter, there have been a number of cuts announced to local arts funding:
On 28 February Arts & Business released its latest research on private giving in the arts. Donations from business to the arts once again fell in 2010/11, the fourth year in a row, but this has been offset by growth in donations from trusts, individuals and foundations. 81% of individual donations go to London, but there has been some growth in the share of private giving going to the North. Full figures and commentary from secretary of state Jeremy Hunt and shadow culture minister Dan Jarvis are available from: http://tinyurl.com/7ge49jd
Natural Theatre Company. This Bathbased street theatre company, which has been funded by ACE for nearly 40 years, is scaling back its programme of work and making four redundancies after failing to become a National Portfolio organisation. Redbridge Drama Centre in east London, which works with young people alongside a full professional programme, is facing a 100% cut to its £292,000 local authority funding by the end of 2014. Labour opposition councillors have tabled amendments aimed at providing a one-year ‘Leisure and Culture Rescue Package’ to help the centre. The Greenwich and Docklands International Festival was due to lose funding from Tower Hamlets council but its grant of £25,000 was reinstated following a campaign by local residents. Darlington Arts Centre is set to close in July after councillors voted to withdraw its £500,000 per year subsidy. Swale Borough Council is looking to make £1.6m of savings this year and is set to end funding for the arts (which is currently set at £76,000) completely. In some cases, decisions are yet to be confirmed, however, information on these cuts has been forwarded to the Lost Arts campaign website: www.lost-arts.org
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spring 2011
Henley Review The Henley Review of Cultural Education had a number of recommendations of interest to Equity including: Recommendation 10: Consideration should be given to promoting Dance and Drama as subject areas in their own right, rather than being seen as junior partners to PE and English. Recommendation 14: Ofsted should be encouraged to comment on each individual school’s Cultural Education provision as a specific part of their inspections. Recommendation 18: The government should recognise the need for exceptional funding for culturally based conservatoires, which train the artists, actors, dancers and musicians who will create and perform the culture of the future. The funding settlements
Actor Colin Tarrant served as Equity Vice President on the 2002-2004 Council. He is fondly remembered by Trudie Goodwin, his colleague and friend from The Bill
for these conservatoires should be secured for the long term. Recommendation 20: The government should continue to fund specialist training in Dance and Drama. This support should be targeted towards those students who would not otherwise be able to afford to undertake the training courses.
C
The complete report is available from: http://tinyurl.com/7ykxks6
Film Policy Review report A Future for British Film – it Begins with the Audience was published in January. Recommendations include calling for broadcasters to invest more in film production, better collaborations between producers, distributors and directors, and further action to tackle copyright infringement. The report is available at: http://tinyurl.com/7jmu7b4
Anniversary of BBC Four In parliament, an Early Day Motion was tabled by John Mann MP in celebration of BBC Four. It said: “That this House notes the tenth anniversary of BBC Four in March 2012 and congratulates the channel on its exemplary public service content. BBC Four is watched and loved by an average of 9.8 million viewers each week, it has a great mix of quality programmes ranging from dramas such as Danish political drama Borgen to The Proms to the season on America and we wish the channel continued success.”
Lottery funding could increase At the State of the Arts Conference Ed Vaizey said that £200m extra could go to the arts sector over the next five years because of an increase in National Lottery ticket sales. This could mean £1.25bn of Lottery funding would go to the Arts Council and £243m to the BFI between 2012/13 and 2016/17.
www.equity.org.uk
olin Tarrant was a Renaissance Man. He was passionate about so many things: literature, art, politics, history, football, to name but a few. He was, however, first and foremost an actor. He not only loved acting but genuinely loved and cared about actors, exemplified by his long involvement with Equity. He was Equity vice president from 2002 to 2004 and Equity deputy on The Bill for several years. For many actors being a Dep can be seen as an onerous job but Colin threw himself into the role with enthusiasm, humour and dedication. He made a genuine difference to actors’ working conditions on that programme. He had a great sense of humour, a face that literally shone when he smiled and a sudden laugh that could be heard a mile off. Very different to the character he played for 12 years on The Bill, the rather dour, ‘firm but fair’ Inspector Monroe. He not only loved playing the character but relished being part of The Bill community and could often be found squirreled away in a corner of the set having an animated debate, usually about politics or football, with some member of cast or crew. He was a socialist down to his bones and fiercely proud of his roots in Shirebrook, Derbyshire. He was one of a dwindling number of people who write letters by hand, especially about politics, and people like Dennis Skinner and Margaret Beckett got to know his beautiful, italic hand rather well. He had no compunction in telling them where Labour politics were going wrong and suggesting remedies. They wrote back too, and became friends who would keep up a correspondence over the years. A hair’s breadth from being a professional footballer for Huddersfield Town as a teenager, he played and watched football avidly all his life. One of the roles of which he was most proud was that of Brian Clough, one of his great heroes, in Stephen Lowe’s play Spirit of the Man at Nottingham Playhouse, directed by another hero of his, Alan Dosser. I saw it and he was Brian Clough, not an easy task when half your audience are dressed in Nottingham Forest shirts, have never been to a play before and idolise Cloughie. They gave him a standing ovation the night I attended the show. His passion for literature took him from school to Exeter University to read English and Drama, initially with a view to becoming a teacher, but drama hooked him and it was only a short hop across the road to start his acting career at the Northcott Theatre, and then with Medium Fair. He was a member of the company for two years at the Victoria Theatre, Stoke-on-Trent under the direction of Peter Cheeseman, whom
he greatly admired. Colin would visit and write regularly up until Peter’s death in 2010. Among numerous other roles during his time at Stoke he played Edmund in King Lear and Jack Absolute in The Rivals. He was a member of the RSC from 1981-82, appeared in The Plough and the Stars at Manchester Royal Exchange, did a season at Birmingham Rep and ventured south to appear at The Old Vic in King Lear directed by Jonathan Miller. His first major television role was playing opposite Imogen Stubbs in a three-part adaptation of D H Lawrence’s The Rainbow for the BBC. He worked in too many theatres to list here, but more recently I know he had a wonderful time playing the Old Gentleman in The Railway Children for York Theatre Royal, a theatre he returned to several times. He also did two tours of Calendar Girls, which he found great fun and was due to go out on the road with them again later this year. I’d like to remember him singing. He founded the Equity choir and sang with them for many years, like everything else he did, with great gusto and passion. Real passion.
He had a great sense of humour and a sudden laugh that could be heard a mile off ”
Julian Makey/ Rex Features
Low Pay/No Pay
Colin Tarrant
www.equity.org.uk
Colin Tarrant, born 14 June 1952, died 26 January 2012
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Yes/No
My branch
Please mark your envelope “ARC OBSERVER” and return by April 20 2012 to: Louise Grainger, Equity, Guild House, Upper St Martin’s Lane, London, WC2H 9EG
@ CentreStageAcc
HELP FOR ACTORS’ CHILDREN Are you: a professional actor? parent of a child under 21? experiencing financial or other hardship? looking for assistance or advice?
TACT helps children with special needs, disabilities, chronic illness, children whose family are experiencing financial crisis, or where a parent experiences disability or long-term illness. We award grants and offer short- or long-term confidential support. THE ACTORS’ CHARITABLE TRUST
Telephone 020 7636 7868 robert@tactactors.org www.tactactors.org TACT, 58 Bloomsbury Street, London WC1B 3QT.
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DO YOU NEED ADVICE OR HELP? Have you got financial problems? If so, we can advise on debt. Have you got benefit problems? If so, we can check your benefits. We may provide grants for some financial emergencies and other special needs. All discussions are completely confidential.
EQUITY CHARITABLE TRUST Call: 020 7831 1926 Write to: Plouviez House, 19-20 Hatton Place, London EC1N 8RU www.equitycharitabletrust.org.uk Registered Charity No. 328103
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Letters...
the president writes
Three topics: a victory, a celebration, and what I feared was a defeat. The deeply satisfying victory was the apology from the Passport Office. For those not up to speed on this, the actor Michael Sheldon bearded me at a party to tell me that, having sent in a reference to support the application for a passport by his daughter’s boyfriend, he was told by the Passport Office that the reference could not be accepted because he’d listed himself as an actor, and acting apparently was “not a proper job”. Shared outrage followed and I
seriousness we attach to this matter”. Lovely, job done. So if anyone is on the receiving end of any such nonsense, please get in touch at once. The celebration took place on Sunday, 18 March, at the Duchess Theatre (thank you, Nica Burns). A fond farewell and heartfelt thanks to Miriam Karlin, or “darling Mim”, who gave so much of herself to Equity, and who persuaded, bullied, as many of her fellow members as she could get to, to get stuck in and fight for the rights of performers, to join the “family” of actors, artistes and performers to take care of each other. This being quite apart from all her other campaigns against injustice, and her career as one of the actresses of her generation, for goodness sake. There were a lot of laughs as you’d expect, two wonderful extracts from the Rag Trade, a clip of the interviews she gave to Jan Sargent, wearing earings from heaven, and contributions from colleagues and friends. Everyone had champagne, we had Alan Rickman from New York (thanks, David Pugh for both), and I think we did her justice. If only she could have been there… The defeat, if that’s what it was, happened at the March Council. A whole package of structural reforms to the way we do business, including a major reorganisation of committees and the
It was a great celebration of Miriam Karlin, who gave so much of herself to Equity and persuaded so many members to fight for performers’ rights” composed a letter to Theresa May, no less, to complain and demand that this “policy”, if that’s what it was, would be rescinded, as actors paid their taxes, were part of one of the few engines of growth in the economy, namely the creative industries, and might be said to lead the world in their particular craft. If there was no satisfactory response, we would “have to take the matter further”, I threatened darkly. The letter was passed to the said Passport Office, and, gratifyingly, within the week we had a reply: an unreserved apology, the original response had been “both inappropriate and inaccurate”; the Identity and Passport Office hope that the prompt response would be taken “as a reflection of the
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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
A good call
Jack Martin
Malcolm Sinclair
Valerie Ford
The Dukes theatre
I am writing to thank the International Committee for Artists’ Freedom (ICAF) who helped me when I was turned away at immigration and was due to appear at a music festival. I am from Chile and being unable to attend the festival in Wales was very upsetting, as was the isolation and alienation I felt when I was detained at the airport. The committee’s help towards the cost of my trip home is greatly appreciated and reminded me of the legendary Charlie Chaplin in The Great Dictator film who says: “We all want to help one another. Human beings are like that. We want to live by each other’s happiness – not by each other’s misery.” It would be wonderful to shake hands and thank the committee personally for its fraternal help which I did not expect and has comforted me greatly.
I would like to express my wholehearted thanks to all those who have shown their support for The Dukes. The Dukes board and staff have been through a difficult time of change and the strength of feeling from both the general public and the artistic community has been overwhelming. It is very clear that The Dukes plays an important part in the life of its community. For the record, I would like to clarify the figures regarding funding for The Dukes. The levels of subsidy from all our core funding partners reduced significantly in 2011 and this has inevitably led to changes in organisational planning. However, the subsidy figures from Arts Council England should be explained. The Dukes’ core grant from ACE in 10/11 was £273,592. In addition, The Dukes received from ACE a project grant towards development of £60,000. In 11/12 the core grant from ACE for The Dukes is £254,714. On a like-for-like comparison then, the core grant from ACE reduced by £18,878 between 10/11 and 11/12. ACE has maintained the £254,714 level of core investment in the first year (12/13) of our National portfolio funding. We were very pleased to be awarded NPO status from 2012 but it means that, like other NPO organisations, The Dukes will not be eligible to apply for additional project funding from Grants for the Arts. Our understanding is that there are other funding schemes where NPOs will be eligible and we will be advised by ACE when it is appropriate for the Dukes to apply for these. We have a strong working partnership with ACE and we are currently liaising with them towards an agreed programme of work for 2012-15. It is likely that it will include a minimum of three in-house productions per year. Although this represents a reduction in this important element of our work we have had to ensure that the quality we can deliver with reduced resources will be of the highest standard. The Dukes Board of Directors is absolutely committed to The Dukes’ producing function and sees this as the beating heart of the organisation. In addition to our own in-house productions, we will continue our successful programme of toured in work and young people’s work. Plans are in place to step up our fundraising activities and increase earned income so that the organisation can become more financially robust for the future.
Carlos Jesús
I recently experienced great difficulty in speaking on the phone to a large high street bank. I was put on hold by a voice that was straight out of a zombie film. Eventually I got a further recorded voice who gave me a millisecond to enter my details. Why this process has to be made so difficult and confusing I really can’t fathom. I gave up in the end. My next phone call was to Equity. I got through straightaway to a real living person with a lovely manner. He helped with my question straightaway – no problem. A knight in shining armour. Please keep hold of him at Equity and make sure those phone zombies don’t get him!
Council, which a working party, of whom I am a member, had worked at for months and months was not implemented, but delayed. The reforms aim to save us money, improve our democracy and equip us to face the challenges of rapidly changing industries and difficult economic times. I wish it had been passed by Council. But the debate was intense, friendly, concerned and principled and, actually, perhaps this delay will help to improve any new structure and also ensure that we take everyone with us. So maybe not such a defeat after all. So, after a long, long day at Council, a pint of Guinness and half a bottle of Merlot (and some very good pasta) I say… Onwards.
Thanks for ICAF
More credit please My husband and I really enjoyed the recent film War Horse. However, after watching the end credits, I am curious to learn how they are selected. I feel that the teams behind the stars deserve equal recognition as without them the film would not be complete. I realise that in some films there are a lot of extras and supporting artists and it would be difficult to list them all, however I do think all the people behind the stunts should get a mention.
www.equity.org.uk
Stunt success I am writing to congratulate the UK team of stunt men and women who recently won the stunt ensemble award from the Screen Actors Guild (SAG) in America. The SAG awards are seen as one of the top honours an artist can receive. In the category of outstanding performance by a stunt ensemble in a motion picture, the stunt team working on Harry Potter and the Deathly Hallows Part 2 took home the honours, beating The Adjustment Bureau, Cowboys & Aliens, Transformers: Dark of the Moon and X-Men: First Class. There were 92 people listed, well done to them all. Doremy Vernon
Siân Johnson Chair of the Board of Trustees Dukes Playhouse Ltd
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: Ian Abercrombie, Steve Ace, Ronnie Alden, Sheila Allen, Bob Anderson, Susan Bailey, Romy Baskerville, Julian Battersby, Harry Brindle, Jill Brooke, Anthony Broughton, Robert Buckman, Buster, Denis Cannan, Richard Carpenter, Frank Carson, Fleur Chandler, Victor Charrington, Jim Cleneghan, Carl Clifford, Donald Clive, Claude Close, Elizabeth Connell, Geraldine Connor, Georgina Cookson, Richard Cooper, Sean Crummey, Malcolm Davey, Jacquie De Creed, Joan Deering, Margaret Dent, Ted Dicks, Paul Dickson, Betty Driver, Hal Dyer, Jan Edwards, Ernest Jones Evans, Cressida Falcon, Olga Fleming, Adrian Fletcher, Harry Fowler, Chris Fox, James G, Katy Gardiner, Ben Gazzara, Ken Goodwin, Alexander Grant, Dobie Gray,Dulcie Gray, Miss Guiti, Caro Gurney, Peter Halliday, Peter Hammond, Lucy Hancock, Kate Hardcastle, Jill Haworth, Heavy D, Richard Henry, Mary Henshaw, Eilis Hetherington, Bob Holness, Sue Hopkins, Whitney Houston, Etta James, Martyn James, Olivia Jardith, Douglas Johns, Davy Jones, Lynne Jones, Charles Jupp, Sena Jurinac, Maciej Karas, Dinah Kaye, Lila Kaye, David Kelly, Mark Kingston, Margaret Lang, Drew Leavy, Antony Linford, Natasha Lisak, Sue Lloyd, Christopher Logue, Marie Lorraine, Louisiana Red, Billie Love, Barry Lowe, Ross MacManus, Philip Madoc, Oliver Maguire, Peter Majer, Joaquín Martínez, Marion Mathie, David Maud, Dan Meaden, Mary J Mitchell, Angelita Montoya, Richard Morant, Harry Morgan, Reginald Morris, Vernon St J Mound, Mary Murphy, John Neville, Nancy Nevinson, Ralph Nossek, Rowland Ogden, Toshie Ogura, Johnny Otis, Barry Paine, Dory Previn, George Prytherch, Dave Redman, Stephen Robertson, Phyllis Roe, Edmundo Ros, Deena Ross, Andrew Luke Rotherham, Jeff The Big Guy Rudom, Ken Russell, Hayne Ryan, Emma Salt, Michael Sarrazin, Brenda Saunders, Jimmy Savile, Hilda M. Schroder, Martin Scott, Jon-Paul Scott, Don Sharp, Peter Shorey, Tony Sibbald, Ken Smalley, Michael Smee, Rodney Smith, Janet Spearman, Mike St John, Mike Stamp, Martin Starkie, Elaine Stewart, Freddie Stuart, Derek Suthern, Maureen Swanson, John Sweet, Malcolm Taylor, Jenny Tomasin, Frederick Treves, Andrea True Connection, Barry Wade, Barbara Walter, Christine Way, Gillian Webb, Nicol Williamson, Dana Wynter
Branch update
Equity branches are your local meeting place to discuss the industry, share insights and influence the direction of the union. Find your local branch at www.equity.org.uk/branches milton keynes general Date of next meeting: TBC usally at Madcap Arts Centre, Creed St, Wolverton, Milton Keynes MK12 5LY Contact: Rachel Dobell on email at mkanddistrict.equitybranch@gmail.com
north west england general Date of next meeting: TBC Contact: Mary Hooley 0161 273 5990 to get branch newsletter, plus check our Facebook page
north & east london general Date of next meeting: The branch meets every second Saturday of the month at 11.00am - Cable & Wireless room, Sadlers Wells Theatre, London. Contact: Shenagh Govan, email: shenagh.govan@ntlworld.com
northwest london general Date of next branch meeting: on the first Saturday of every month, at Central School of Speech and Drama NW3 3HY Contact: Nim Johnson on 07885 186443 or email nim.johnson@btinternet.com Phil Adams
The Mersey beat Liverpool General Branch has just been created and the members want your input
M
embers from the great city of Liverpool have formed a new branch. “Liverpool has so much to offer and has plenty of opportunities,” says branch member Catherine Rice. “It’s also the most filmed city outside of London and we want to help local talent work locally. We will be inviting industry experts to
brighton & sussex general Date of next meeting: 10.30am on the first Saturday of the month Friends Meeting House, Ship St, Brighton Contact: Chris Webb on 07973 465154
bristol & west general Date of next meeting: 16 April YHA, 14 Narrow Quay BS1 4QA Contact: Rachael Fagan, equity.bristolwestgen@googlemail.com
central england general Date of next meeting: 14 May, 7.30pm at The Old Joint Stock Public House, 1st floor, 4 Temple Row West, Birmingham B2 5NY.
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network at the branch meetings, our first speaker was Rick Laxton, casting director for Hollyoaks. “We want members to come along, discuss projects, share contacts and have a great time,” Catherine adds. Pictured from left to right: Samantha Giles, Steve Aintree, John Davies and Catherine Rice. Contact: Jenny Stokes, email her on: jennystokes@blueyonder.co.uk
devon & cornwall general Next branch meeting: TBC, venue usally UNET Centre, St. Austell. For details see below. Contact: Jeremy Holloway on 01364 643483 (07909 621438) or jdholloway1@live.co.uk
east of scotland general Date of next branch meeting: 23 April Venue TBC Contact: Helen Raw, edinburgh@equity.org.uk
liverpool general branch Date of next meeting: TBC, use contacts below, the venue is usually The Vines or The Crown on Lime street, Liverpool Contact: Catherine Rice, 0151 286 1577, cathrice1000@hotmail.com
essex general Date of next meeting: TBC, contact Liz for venue details and further dates Contact: Liz Mullen, busylizziemullen@gmail.com
home counties west general Next branch meeting: Tuesday 22 May 7:30pm, at South Hill Park, Bracknell Contact: Branch secretary Natalie Jenno on n.jenno@btinternet.com
kent general Date of next meeting: 12 May 2012, 11am - 1pm,The venue is being confirmed, contact Marie for details. Contact: Marie Kelly, 07703 207878, kellygreenproductions@hotmail.co.uk
www.equity.org.uk
south & se london general
east anglia variety
Date of next branch meeting: The first Saturday of every month, Conference Room, Royal National Theatre, London SE1 Contact: Richard Dargan by phone on: 01737 559450, or you can email him at: RED.sseequity@phonecoop.coop
Date of next branch meeting: TBC, details from Peachy Contact: Peachy Mead on 01603 624981, peachymead@f2s.com
west and sw london general Date of next branch meeting: 5 May, 10.30am Royal Court Theatre. Speakers will be election candidates Contact: Jenny Thorne, 020 8946 1859, jenny@jennythorne.orangehome.co.uk
blackpool variety Date of next meeting: 1st Tuesday of each month, 1pm, Blackpool Cricket Club, Stanley Park, FY3 9EQ Contact: Alan Hebden, 07721 340311 or alanhebden@yahoo.co.uk
birmingham variety Date of next meeting: 25 April, 8pm at The Nautical Club, Bishopsgate Street, Birmingham B15 1ET, Contact: John H Price, john@jhprice.co.uk
Standing together
The Coventry and Leicester variety branch get strength from each other to face turbulent times
humberside variety branch Date of next meeting: 14 May, 8pm Village Hotel Henry Boot Way Priory Park, Hull HU4 7DY Contact: Christie Clifford, 01482 848031, equityvbn4@msn.com
manchester variety Date of next meeting: 16 April, 7.30pm, Taurus, 1 Canal Street, Manchester M1 Contact: Yvonne Joseph, 0161 792 2035, vonniegerry@btinternet.com
north east variety Date of next meeting: 7.30pm, every last Tuesday of the month at Pelaw Social Club Contact: Brenda Marsh on 0191 410 2660, email PhilDeering@compuserve.com
north & west yorkshire variety Date of next meeting: 16 May 8pm Low Moor WMC., Bradford, BD12 0TQ Contact: Valerie Jean Mann, 0113 285 3848, val@mrstipsy.co.uk
scottish variety Next branch meeting: TBC, usually at Equity office, Glasgow G13QQ. Contact Linda for details Contact: Linda Rifkind on 0141 639 6969, or email l.rifkind@btinternet.com
I
t’s important that members stick together and get involved in their local branch, particularly in areas such as the Midlands that are experiencing challenging working environments, believes branch secretary Sheila Payne. “Many of our clubs have closed down and a number of our branch members took part in the demonstration in Birmingham against the BBC cutting production in the area,” she says, “we always generate a social atmosphere at branch meetings with information to members about what is going on locally and arrange group trips, plus we recently had our New Year party, which was very successful.” Sheila wanted to emphasise the change of location for the meetings,
east midlands variety Date of next branch meeting: TBC, details from Chris Contact: Chris Shaw, 0115 974 5512, equityvbm18@hotmail.co.uk
south yorkshire variety Date of next meeting: second Monday of every month, 8:15pm, The Bridge Inn, 1 Greasborough Road, Rotherham S60 1RB Contact: Joy Palmer on 07736 721674 details below. Members pictured, left to right, are Dave Dixon (Elvis Presley tribute act), John Brennan (big band singer), Sheila Payne (vocalist) and John Rodgers (American Song and Dance Man).
coventry and leicester variety Date of next meeting: Tuesday 8 May, 8pm, Copsewood Sports & Social Club, Allard Way, Coventry CV3 1JPP Contact: Sheila Payne, 02476 717424 sheila.rodgers@btinternet.com
thames variety Date of next meeting: 17 April 2pm, Equity HQ, Guild House, London WC2H 9EG Contact: Andy Christie, achristieis@hotmail.com
west of england variety Date of next branch meeting: TBC contact Mary for the latest details. Contact: Mary Lane, 0117 373 0614 or email her on: mary_lane@blueyonder.co.uk
spring 2012
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special attention Members are instructed in their own interests to consult the Equity office before accepting engagements with or through any of the names on this list. In most cases, names are included because the individual, company or agency has owed or still owes members money. In other cases, entrants have refused to use our contracts and place the necessary deposits or put money in escrow. In some cases, money will have been secured for members through the courts or through the disputes procedures under our various contracts. These entrants remain so members can check with the Equity office that the correct procedures have been undertaken in respect of engagements offered. AGENTS A Actors Inc (Real People, Real Creatives, Marco Rasala) (1), ADP Entertainments (David Hunter), Agency L’Image (Jonathan Sands), Allied Artists Management (Andy Grover), A M Artists (Ann Molloy), And Action Management (Alan Elliott), Anglo Artists Management/Anglo Americor Ltd (Michael Van Rindt),Robin Answych (Briarcom Ltd), Arena Promotions Ltd (2). B James Balfour (3), Bruce Benson Associates Ltd, Berry London Associates Ltd (Ceri Berry), Briarcom Ltd (Robin Answych), Paul Bridgewood (Xtabi Entertainments), Buchanans (17). C CADS Management (Terry Smith), Maurizio Caroldi, Celebrity Marketing (Roland Mowlam), Alan Chamberlain, Dee Christopholous (Millennium). D Patrick Duncan (Dealers Agency). E Alan Elliott (And Action Management). G Geoff Gibbons (Nightfall Entertainments), Jo Gilbert Associates (JGA Theatrical International), Gold Agency (Robert Lyndsey-Wilson/Lyndsey Wilson), Peter Graham Associates (4), Reid Graham (Heavies Casting), Andy Grover (Allied Artists Management). H Sally Harrison Management (5), Heals Entertainment (Philipa Sage), Heavies Casting (Reid Graham), Rob Holloway, Mark Hudson Associates (6), David Hunter (ADP Entertainments), Fran Hurley. J Jukes Entertainment Agency, JGA Theatrical International (Jo Gilbert Associates). L Robert Lang Associates; Robert Lyndsey-Wilson (Gold Agency). M Millennium (Dee Christopholous, Jacqueline Whelan)(7), Ann Molloy (A M Artists),MonstersAgency(MervynWebb), Roland Mowlam (Celebrity Marketing). N Nightfall Entertainments (Geoff Gibbons). O Ordinary People Ltd (Sarah Robbie). R MalcolmRaeAssociates,MarcoRasala (Actors Inc. Real People, Real Creatives), PatrickRimmel(RPManagement),Michael VanRindt(akaAngloArtistsManagement/ Anglo Americor Ltd), Sarah Robbie (Ordinary People Ltd). S Philipa Sage (Heals Entertainment), Jonathan Sands (Agency L’Image), Terry Smith (CADS Management), Stephen Stroud (Tobias Management), T Peter Talbot Agency (8), Tobias Management (Stephen Stroud). W Mervyn Webb (Monsters Agency),Jacqueline Whelan (Millennium), Robert Lyndsey Wilson (Lyndsey Wilson) Gold Agency. X Xtabi Entertainments (Paul Bridgewood). VARIETY a Shona Adams (Juliet Adams Agency), Tony Adams trading as Secret Circus, William Adkins (Williams Organisation). Anne Young b Kevin Bearne aka Cefn De Bearne (Labyrinth Productions), Antony Bishop (Entertainment In Business). c Capital VIP Group, Scotty Clark trading as Clark Sutherland Arts & Entertainments, Karen Lesley Clarke – Williams Organisation, Steve Cox— Pizzazz Productions, Crazy Horses Entertainment (Martin Marhall), Richard Curson (Tangible Media Limited). d Ray Dalton (Excel Entertainments). D4M Limited (Julia Charles) e EntertainmentInBusiness(Antony Bishop),ExcelEntertainment (RayDalton). EddieBloom–BloomFestival,ElchrisGroup
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f Fish Out Of Water Restaurant ,Mr & Mrs Melville. g Mark Greenhouse (Wendy House Productions), Roy Gurvitz (Lost Vagueness Limited). h Hanover Concert Promotions (Patrick Mulvaney), Barry Hawkins, Fran Hurley, Gerald Leslie Hemming (Hemmings Leisure). j Kerry Jacks (The White Lion, Swandlicote), Helen John trading as Kidz Want Fun, Don Jones Organisation (9). Julia Charles (D4M Limited) k Kidz Want Fun (Helen Jon), Phil Knight (Street Leisure Ltd) l TommyLaughton,LabyrinthProductions (Kevin Bearne aka Cefn De Bearne), Rochelle Leader (Top Hat International), Lost Vagueness Limited – Roy Gurvitz. m Martin Marshall (Crazy Horses Entertainment Consultants), Mr and Mrs Melville (The Fish Out Of Water Restaurant), Patrick Mulvaney (Hanover Concert Promotions), Gabriel Bauza Munar (Ponsa Espectaculos). N New Time Entertainment Ltd — Cyprus (Panos Gerou) o Oliver Barton Entertainments & Productions (Michael Slater, Stan Smith (10)). p PizzazzProductions-SteveCox,Ponsa Espectaculos (Gabriel Bauza Munar). Panos Gerou (New Time Entertainment Ltd — Cyprus) r Paul Randall (Rainbow Entertainments) (11), Warren Rix s Secret Circus (Tony Adams), Michael Slater—Oliver Barton Entertainments & Productions, Stan Smith (10), Soho Set Dance Revue (Tony Sharman), Street Leisure Ltd (Phil Knight). t Tangible Media Ltd– Richard Curson, Top Hat International – Rochelle Leader. Thomas Hopkins u Untouched Entertainments – Marc Williams and Janine Wright. v Venus Associates Ltd. W Alistair Watts Entertainment, Wendy House Productions (Mark Greenhouse), White Lion, Swandlicote (Kerry Jacks), Williams Organisation (William Adkins and Karen Lesley Clarke), Marc Williams and Janine Wright – Untouched Entertainments. THEATRE A Argonaut Theatre Co (John Greco). b BAF Productions (Sarah Jane Worrell and Ian Worell); Peter Baldwin (Theatrical Productions Ltd) (12), Big Little Productions Ltd, Graham Bodman — Northwick Theatre. c Michael Coffman (West Midlands Children’s Theatre Company). PLEASE NOTE (1) no connection with www. Actors-Inc.co.uk (2) not Arena Touring Theatre Ltd or Arena Personal Management Ltd (3) not James Balfour, an Equity member in good standing (4) not Graham Associates of West Yorkshire (5) not Sally Harrison, an Equity member in good standing (6) not Mark Hudson, an Equity member in good standing (7) not Millennium Actors Agency Personal Management (8) not Peter Talbot of the Rude Mechanical Theatre Company (9) not Donald Jones, an Equity member in good standing, or
d Danny Davies Productions Ltd (13), Sally Davies (Khoros Productions Ltd) (14). f Terry Finnegan (Terry Finnegan Productions). g John Greco (Argonaut Theatre Company). h Bryan Hands Productions Ltd, Hierographics Productions Co Ltd, Mike Hobman. i Tommy Iwering (Piccadilly Productions), Brian Izzard (Knaveacre Productions). j Andrew Jenkins and Paddy Wilson (One for the Road). JGA Theatrical International. k Robert Kennedy, FA Ketcher (Quick Tour Ltd), Khoros Productions Ltd (Sally Davis & Sylvia Swann) (14), Knaveacre Productions (Brian Izzard). m Minera Productions (Michael TyeWalker), Graham Mulvein (Graham Mulvein Holdings Ltd). o One for the Road (Paddy Wilson and Andrew Jenkins). n Northwick Theatre (Graham Bodman). p Piccadilly Productions (Tommy Iwering). q Quick Tour Ltd (F A Ketcher). r Stephen Rayne (Shakespeare UK), John Redgrave. s Shakespeare UK (Stephen Rayne), Sylvia Swann (Khoros Productions Ltd Sally Davis) (14). t Terry Finnegan Productions, Theatrical Productions Ltd (Peter Baldwin) (12), Michael Tye-Walker (Minera Productions). w West Midlands Children’s Theatre Company (Michael Coffman), Sarah Jane Worrell and Ian Worrell (BAF Productions). Paddy Wilson and Andrew Jenkins (One for the Road Ltd). FILM AND TELEVISION c Chancery Lane Films Ltd (Joseph Brooks), Communication Interlink Ltd (Simon McCarthy). d Philip D Deighton (Spectacular Sounds Ltd). E Elchris Group h Barrie Hawkins. l LiberationsProductions(WarrenBader). m Simon McCarthy (Communication Interlink Ltd), Alan Macdonald, Mapleton Films Ltd, Mercury Films And Video, John Mortimer Video Promotions (15). p Palm Tree Production Ltd (Robbie Moffat). r RobbieMoffat(PalmTreeProductionLtd). s Spectacular Sounds Ltd (Philip D Deighton), Stuart and Graham Productions. Sisterhood TV Ltd t Talisman Productions Ltd (16), TVE Productions Ltd – Richard Bednall. Don Jones of Bridie Reid and Don Jones Agency or Don Jones Management (10) not Stan Smith of Saatchi & Saatchi advertising agency (11) not Rainbow Management of Old Colywn, North Wales (12) not Peter Baldwin, an Equity member in good standing (13) not Danny Davies of Pirate Management (14) not Sally Davies, an Equity member in good standing (15) not John Mortimer, an Equity member in good standing (16) not Talisman Films Limited and not Jason Karl of Talisman Television Productions Ltd (17) not Bronia Buchanan of Buchanan Associates, London
Live performance Help desk Bullying helpline Advice and rights helpline Subscription enquiries British Equity Collecting society
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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 (Officers direct line: 020 7670 0263) Malcolm Sinclair President Jean Rogers Vice President David Cockayne Vice President Bryn Evans Honorary Treasurer
How would you like to invest your money in a voiceover demo that actually stands you a chance of getting work? Professional demo reels that the industry expect Matt Chopping - WAM Voices
EQUITY STAFF Telephone contact: To call a member of Equity’s head office staff, dial 020 7379 6000 and at the prompt dial the three figure extension in brackets after the relevant name below. Email contact: To email a member of Equity’s head office staff, type the initial and the second name, in lower case with no spaces or punctuation, followed by @equity.org.uk.
Professional, sharp, well presented quality demos
GENERAL SECRETARY’S Department (fax 020 7379 6074) Christine Payne General Secretary (155) Duncan Smith Head of Finance (130) Louise McMullan Policy Development Officer & Assistant to General Secretary (160)
Excellent demos. I've always been impressed
Stephen Spence
Assistant General Secretary, Industrial and Organising (133)
LIVE PERFORMANCE (fax 020 7670 0265) Hilary Hadley Department head, Opera & Dance Organiser (136) Mike Day Variety Organiser (135) Virginia Wilde West End Organiser (139) Paul Fleming London Area Theatre Organiser (138) RECORDED MEDIA (fax 020 7836 5313) John Barclay Department head and PACT TV Organiser (146) Ian Bayes BBC TV Organiser (152) Laura Shaw Contract Enforcement Officer (149) Cathy Sweet ITV & Radio Organiser (153) Tim Gale TV Commercials Organiser (145) Matt Clarke PACT Film Organiser (154) COMMUNICATIONS & MEMBERS SUPPORT (fax 020 7240 6341) Martin Brown Assistant General Secretary (159) Matt Hood Department head, C&MS (166) Phil Pemberton Campaigns and Publications Officer (111) Louise Grainger Marketing and Training Officer (114) Max Beckmann Tax & Benefits Officer & Equalities Officer (151) Alan Lean Tax and Welfare Rights Organiser (157) Martin Kenny Legal Claims Referral Officer (125) Steve Rice Recruitment Organiser (172) Andrew Whiteside Recruitment Organiser 0161 244 5995 south East office John Ainslie South East Organiser Equity, Upper St Martin’s Lane, WC2H 9EG tel: 020 7670 0229 email: southeastengland@equity.org.uk scotland AND Northern Ireland office Lorne Boswell Scotland and Northern Ireland Drew McFarlane Organisers Equity, 114 Union Street, Glasgow G1 3QQ tel: 0141 248 2472 email: scotland@equity.org.uk northernireland@equity.org.uk North West office Jamie Briers North West Organiser Express Networks, 1 George Leigh Street, Manchester M4 5DL tel: 0161 244 5995 email: northwestengland@equity.org.uk North East office Nigel Jones North East Organiser Equity, The Workstation, 15 Paternoster Row, Sheffield S1 2BX tel: 0114 275 9746 email: northeastengland@equity.org.uk Wales and South West office Chris Ryde 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 Tim Johnson Midlands Organiser Equity, Office 1, Steeple House, Percy Street, Coventry CV1 3BY tel: 02476 553612 email: midlands@equity.org.uk EQUITY MAGAZINE EDITORIAL (fax 020 7836 5976) Phil Pemberton tel: 020 7670 0211 email: ppemberton@equity.org.uk EQUITY MAGAZINE PRINTING Jeremy Littlestone, TUInk, tel: 020 7729 9425 email: jeremy@tuink.co.uk EQUITY MAGAZINE ADVERTISING Bob Jalaf, Sales Manager, Ten Alps Publishing tel: 020 7878 2344 email: Bob.Jalaf@tenalps.com Publication of an advertisement does not imply any form of recommendation. Organisations offering financial services or insurance are regulated by the Financial Services Authority and General Insurance Standards Council 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.
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Alex Lynch White - Earache Voice Agency
Professional and unique showreels, 2 very important aspects for a top quality demo
Jennifer & Clair - Shining Management Ltd
Learn the skills needed on our one day voiceover workshop Learn the “insider” secrets to
starting a career in this lucrative industry.
Everyday we get calls and emails from people who want to know how to get started and they come from all walks of life not just from the “acting” side. In fact we’ve taught news readers, after dinner speakers, sales reps, teachers, actors, DJs, dentists, presenters, vets, lawyers, painters, bio-chemists and even “Brian” a Concord pilot (seriously) and have come to understand that just because people “tell” you, you’ve got a good sounding voice doesn’t mean you should drop everything and make a demo. A comprehensive, fun and interactive workshop. Packed with insider information and loads of “tricks and techniques” on how to succeed in today’s industry, this workshop gives you the opportunity to learn the skills and techniques used by working professionals. Small class sizes allow you plenty of time behind the “mic” and the chance to experience what it’s really like to be in a commercial recording situation while being directed by one of London’s most experienced Voice Producers, JP Orr.
. This “heads up” will give you the headstart you need to move your voice career forward. We know it’s not possible to teach you everything there is to know about voiceovers in a single workshop, but we guarantee that having attended this session you will, with our help, be able to make an educated decision about whether voiceovers are for you. If it is, then we will help you move forward. If it’s not, then we will be honest and tell you that you would be wasting your time pursuing this line of work. We also know that you can’t get practical “hands-on” information in any one book, on the internet or at the end of a telephone. We’ve seen and pretty much heard it all and are willing to share our knowledge with you to help you get started. After all, you only get one chance to “get it right”.
24 years working with London’s top agents and the best voices in the business. Our Logo goes on every demo we produce. A badge we’ve earned by not “just turning out” voice demos that have no chance of getting our clients work. That’s why the top London agents choose us to produce their client’s voice demos. But don’t just take our word for it. Call them and ask them. Most will send you to us to “cut” your reel. Why? Because they know we offer a proven process for all our clients. A voiceover plan that works! * Learn the skills to get started * Put those skills into practice. * Record your Showreel. * Learn how to market your voice. One Day Voiceover Workshop: Special Offer Just £99.00
Our next workshop dates are now online at www.theshowreel.com.
It’s a serious decision you are about to make. We suggest you at least learn Please also feel free to call one of our “voice team” if you have any the basics before you spend your hard-earned money on a Voice other questions on 020 7043 8660 Showreel you may end up not using.
Get Heard Get Hired Get Paid
140 Buckingham Palace Road London SW1W 9SA tel: 020 7043 8660 email: info@theshowreel.com
spring 2012
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