2011 - EquityUK Annual Report by Caron Lyon

ANNUAL REPORT 2011

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EQUITY ANNUAL REPORT 2011 THE EIGHTY FIRST ANNUAL REPORT

Adopted by the Council at its meeting held on April 30 & 1 May, 2011 for submission to the Annual Representative Conference 19, 20 & 21 May, 2012

Equity Incorporating the Variety Artistes’ Federation Guild House Upper St Martin’s Lane London WC2H 9EG Tel: 020 7379 6000 Fax: 020 7379 7001 E-mail: info@equity.org.uk Website: www.equity.org.uk

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CONTENTS CHAPTER 1: GENERAL

A. ANNUAL REPRESENTATIVE CONFERENCE................................................................................................................ 7 B. BALLOTS................................................................................................................................................................... 7 C. LOBBYING ACTIVITY................................................................................................................................................. 7 D. MARKETING AND COMMUNICATION..................................................................................................................... 9 E. RECRUITMENT & RETENTION................................................................................................................................ 12 F. CLARENCE DERWENT AWARDS.............................................................................................................................. 12

CHAPTER 2: LIVE PERFORMANCE

A. GENERAL............................................................................................................................................................... 14 B. LONDON THEATRE................................................................................................................................................. 14 C. COMMERCIAL AND SUBSIDISED THEATRE ............................................................................................................ 16 D. ROYAL NATIONAL THEATRE.................................................................................................................................... 22 E. ROYAL SHAKESPEARE COMPANY............................................................................................................................ 23 F. INDEPENDENT THEATRE ARTS (Formerly Small Scale Theatre) .............................................................................23 G. OPERA................................................................................................................................................................... 25 H. BALLET AND DANCE.............................................................................................................................................. 30 I. VARIETY AND CIRCUS.............................................................................................................................................. 33

CHAPTER 3: RECORDED MEDIA

A. CINEMA FILMS . .................................................................................................................................................... 40 B. TELEVISION............................................................................................................................................................ 40 C. NEW MEDIA........................................................................................................................................................... 46 D. TV AND NEW MEDIA COMMERCIALS ................................................................................................................... 47 E. CONTRACT ENFORCEMENT................................................................................................................................... 47 F. ROYALTIES & RESIDUALS MANAGER....................................................................................................................... 49 G. AUDIO, RADIO & RECORDING............................................................................................................................... 49

CHAPTER 4: INTERNATIONAL EXCHANGES A. BRITISH/AMERICAN EQUITY EXCHANGES.............................................................................................................. 52

CHAPTER 5: INTERNATIONAL FEDERATION OF ACTORS

A. EUROFIA AND FIA EXECUTIVE COMMITTEE.......................................................................................................... 53 B. FIA ENGLISH SPEAKING GROUP............................................................................................................................. 53

CHAPTER 6: RELATIONSHIP WITH OUTSIDE BODIES

A. AMNESTY............................................................................................................................................................... 54 B. BRITISH COPYRIGHT COUNCIL............................................................................................................................... 54 C. BRITISH EQUITY COLLECTING SOCIETY (BECS)....................................................................................................... 54 D. DANCE UK.............................................................................................................................................................. 54 E. EQUITY CHARITABLE TRUST (FORMERLY EQUITY TRUST FUND)............................................................................54 F. THE EVELYN NORRIS TRUST.................................................................................................................................... 55 G. EDUCATIONAL RECORDING AGENCY (ERA) .......................................................................................................... 55 H. FEU (FEDERATION OF ENTERTAINMENT UNIONS)................................................................................................ 55 I. THE INTERNATIONAL PERFORMERS AID TRUST (IPAT)............................................................................................56 J. LIBERTY................................................................................................................................................................... 57 K. PERFORMERS ALLIANCE........................................................................................................................................ 57 L. PPL PERFORMER BOARD........................................................................................................................................ 58 M. SECTOR SKILLS COUNCIL....................................................................................................................................... 58 N. TRADES UNION CONGRESS................................................................................................................................... 58 O. BAPAM.................................................................................................................................................................. 61 P. CDET....................................................................................................................................................................... 62

CHAPTER 7: COUNCIL A. MEETINGS............................................................................................................................................................. 63

CHAPTER 8: APPEALS COMMITTEE

THE APPEALS COMMITTEE........................................................................................................................................ 64

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CHAPTER 9: NATIONAL, AREA & SPECIALIST COMMITTEES

A. NATIONAL COMMITTEES....................................................................................................................................... 65 i. Northern Ireland............................................................................................................................................... 65 ii. Scotland............................................................................................................................................................66 iii. Wales................................................................................................................................................................74 B. REGIONAL COMMITTEES....................................................................................................................................... 76 i. London Area..................................................................................................................................................... 76 ii. Midlands Area ................................................................................................................................................. 77 iii. Northern ..........................................................................................................................................................77 iv. South East......................................................................................................................................................... 83 v. South West....................................................................................................................................................... 85 C. SPECIALIST COMMITTEES i. Audio Committee............................................................................................................................................. 87 ii. Choreographers’ Committee............................................................................................................................89 iii. Concert and Session Singers Committee..........................................................................................................90 iv. General Branches............................................................................................................................................. 90 v. Independent Theatre Arts Committee (ITAC)................................................................................................... 90 vi. International Committee for Artists’ Freedom (ICAF).......................................................................................91 vii. Lesbian, Gay, Bisexual and Trangendered Committee......................................................................................92 viii. Members with Disabilities Committee.............................................................................................................92 ix. Minority Ethnic Members’ Committee.............................................................................................................93 x. Models’ Committee..........................................................................................................................................94 xi. Stage Management Committee........................................................................................................................95 xii. Stunt Committee.............................................................................................................................................. 95 xiii. Theatre Designers’ Committee.........................................................................................................................96 xiv. Theatre Directors’ Committee..........................................................................................................................97 xv. Theatre Fight Directors’ Committee.................................................................................................................97 xvi. Walk On and Supporting Artists Committee..................................................................................................... 97 xvii. Womens’ Committee........................................................................................................................................98 xix. Young Members’ Committee..........................................................................................................................100

CHAPTER 10: STAFF CHANGES A. STAFF CHANGES 2011.......................................................................................................................................... 101

CHAPTER 11: MEMBERSHIP A. MEMBERSHIP AT DECEMBER 31, 2011................................................................................................................ 102

CHAPTER 12: OTHER BENEFITS

A. BENEVOLENT FUND............................................................................................................................................ 104 B. FOREIGN LANGUAGE REGISTERS......................................................................................................................... 104 C. INSURANCE.......................................................................................................................................................... 104 D. EQUITY PENSION SCHEME (EPS)......................................................................................................................... 105 E. LEGAL ADVICE AND PROTECTION........................................................................................................................ 105 F. TAX, NATIONAL INSURANCE, WELFARE BENEFITS & TAX CREDITS ......................................................................106

CHAPTER 13: IN MEMORIAM A. IN MEMORIAM.................................................................................................................................................... 107

APPENDICES

1. Annual Representative Conference Minutes....................................................................................................... 111 2. Committee Elections 2011................................................................................................................................... 128 3. Variety Branch Officials........................................................................................................................................ 130 4. Variety Advisory Committee................................................................................................................................ 132 5. Independent Radio Commercials Rate Card........................................................................................................ 133 6. Members of Staff................................................................................................................................................. 137 7. General Branches................................................................................................................................................. 139 8. Scrutineers’ report: Equity Rule Change Referendum 2011................................................................................140

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ANNUAL REPORT 2011

CHAPTER 1:

GENERAL

A. ANNUAL REPRESENTATIVE CONFERENCE

The 2010 Annual Representative Conference was held at the Ibis Hotel, Earls Court, London on 22 and 23 May. There were 102 representatives and 43 members of the Equity Council in attendance. A full report of the Conference is set out in Appendix 1.

B. BALLOTS

National, area and specialist committees. Elections for these committees took place in June and July 2011 with the result declared on 15 July. 35,445 ballot papers were resulted and 2,391 returned making a 7% turn out. Of the 26 committees being elected, 13 had sufficient candidates to cause a ballot. The results are set out in Appendix 2.

C. LOBBYING ACTIVITY In 2011 Equity continued to lobby vigorously around a number of key union policies. A number of one to one meetings were arranged with Ministers, peers and MPs from all the political parties to brief them on arts funding, copyright, local government cuts, the video games industry, the BBC and the film industry. The Performers Alliance Parliamentary Group, a cross party grouping of MPs and Peers who work on behalf of members of Equity, the Musicians Union and the Writers Guild of Great Britain, also continued to raise the profile of the three unions’ campaigns in parliament. PAPG members tabled a number of Early Day Motions and questions on behalf of the unions and made interventions in key debates in Westminster Hall, the Commons and the Lords. This year’s Performers Alliance Parliamentary Reception was held in the Terrace Marquee in the House of Commons on 9th November. The event was addressed by PAPG Chair Baroness McIntosh, Culture Minister Ed Vaizey and new Shadow Culture Secretary Harriet Harman. Around 50 MPs and Peers attended and discussed arts funding, intellectual property and the Licensing Act with members and staff of the three unions in attendance.

i. Consultations Equity responded to a total of 17 consultations during 2011. The consultations were issued by organisations including the Department for Culture Media and Sport, Department for Education, Department for Communities and Local Government, the BBC Trust, TUC, the European Commission, the Low Pay Commission, Creative England and the Labour Party Creative Industries Review. The following is a summary of the key areas of activity undertaken by Equity in 2010: a. ARTS FUNDING Equity members played a huge part in the Trade Union Congress Campaign for the Alternative during 2011. Up to 1,000 members marched to highlight the impact of arts cuts on Equity workplaces at the ‘TUC March for the Alternative’, a national demonstration attracting between 250,000 and 500,000 to London on 26th March 2011. Equity members Tony Robinson and Sam West spoke from the platform at the TUC rally in Hyde Park on the same day. Equity was also present at many other demonstrations against the cuts which took place throughout the year in Scotland, Wales and Northern Ireland. At the end of March, Arts Council England announced its new National Portfolio. Due to 30% cuts from central Government ACE was forced to cut all funding to hundreds of arts organisations and many formerly well funded organisations faced a 10-15% reduction in their allocation. On 21st April, a delegation of Equity members, led by Sir Patrick Stewart and including Maxine Peak, Samuel West, Malcolm Sinclair and Penelope Wilton, visited Downing Street to deliver a letter to the Prime Minister. The letter called on the Government to convene a summit of leaders in the arts sector to discuss the way forward for public investment in the arts and to consider policies to increase this investment once the present period of austerity has passed. Throughout 2011 Equity worked with parliamentarians and local campaigns to highlight the impact of local authority cuts to the arts and culture. Local councils, which are facing cuts of over 28% in the period to 2015, have been forced to severely reduce their funding for regional theatres, arts organisations and community projects. Councils which have implemented cuts to their cultural budgets include Darlington (£1.7m), Somerset (100% cut), Barnet (100%) and London Councils (£3m). Cumbria, Manchester, Hull, Moray, West Sussex, Birmingham, Lambeth, Derby, Liverpool and North Yorkshire have also proposed or agreed significant cuts.

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A number of locally run, grassroots campaigns, many of which received help from Equity, including those in Lancaster, Derby, Northumberland and Somerset, received huge support from Equity members and the general public and will continue to do so during 2012. In June Equity and trade unions representing workers from across the cultural sector (PCS, Prospect, the Musicians Union, the Writers Guild of Great Britain, the NUJ, BECTU and Unite) launched the Lost Arts campaign. Over the next three years, Lost Arts will record and catalogue all of the projects, events, initiatives, performances, organisations and companies that will be lost due to the cuts in public funding, keep a running total of the money lost to the Arts and record the number jobs placed under threat. The launch rally for Lost Arts featured contributions from Shadow Secretary of State for Culture, Ivan Lewis and speakers from the arts and cultural sector, including Maggie Steed from Equity. The Lost Arts campaign featured prominently at the Performers Alliance Parliamentary Reception and has received widespread support from MPs. b. FILM Following the abolition of the UK Film Council in 2010, key functions of the UKFC moved to the British Film Institute (BFI). Responsibility for attracting inward investment moved to Film London and film policy in the English regions fell to newly established body Creative England. Equity and the Federation of Entertainment Unions quickly established relationships with these three bodies in order to discuss the transitions. The Federation of Entertainment Unions also successfully lobbied to gain a place alongside industry representatives on the new Film Forum convened by the Culture Minister, Ed Vaizey. In early 2011 the Minister also announced that an independent Review of Film Policy would take place during the summer months. Equity took an active part in the Film Policy Review and on 5th September, the Equity President and several staff members met with Lord Smith, Lord Fellowes and James Butler from the Department for Culture, Media and Sport to discuss the union’s key policies with regard to film. The meeting covered a number of issues, including the results of the recent survey of 200 Equity members working in the film industry, training, the role of Skillset, investment in UK film and the role of broadcasters. c. PUBLIC SERVICE BROADCASTING As part of the union’s campaign to secure the future of S4C, Equity took part in a rally and lobby against the Public Bodies Bill on 9th February alongside Unite, PCS, Unison and Prospect. The unions taking part in the rally argued that the Public Bodies Bill was being rushed through parliament and would change, merge and abolish hundreds of organisations, including the UK Film Council, S4C and the Arts Council after very little consultation. Equity member Ellie Paskell spoke passionately at the rally and called on the Government to reconsider the legislation and consult properly with unions and other stakeholder groups. Towards the end of 2011 Equity members launched a campaign to save BBC Birmingham, following cuts announced by the BBC management in Delivering Quality First. Local branch members worked hard to initiate a campaign to lobby the BBC Trust and managed to secure support from licence fee payers, local councillors and MPs from the West Midlands. d. COPYRIGHT AND PERFORMERS RIGHTS A number of developments in the field of intellectual property occurred in 2011. At the start of the year Professor Ian Hargreaves, who was tasked with heading up the Government’s independent Review of IP and growth, met with stakeholders, including Equity, at a round table event hosted by the IPPR (Institute for Public Policy Research) A further meeting for small rights holders’ representatives, convened by the Creative Coalition Campaign, was chaired by Equity’s General Secretary, Christine Payne, in February. Equity also provided evidence to the Review, demonstrating how artists and performers can earn a living from copyright, while enabling new technologies and the digital market to develop. The Review, which reported in June, raised a number of concerns for performers. The major issues were the proposal to introduce a Digital Copyright Exchange and two new exceptions to copyright law for format shifting and parody. As each recommendation is taken forward by the Government Equity will be responding. During debates on the Review in Parliament as well as during the inquiry by the Business Select Committee, Equity has provided regular briefing papers and evidence to MPs. Progress towards full implementation of the Digital Economy Act was hampered this year by a Judicial Review brought by two internet service providers, BT and TalkTalk, who claimed that the Act was disproportionate and against EU privacy and commercial directives. Equity supported the Government’s defence of the Act as a proportionate and fair response to the damage caused to the creative industries by online copyright infringement. The JR was eventually dismissed. At European level, Equity responded to the EU Commission Green Paper on the online distribution of audiovisual works and at international level Equity joined with sister unions in the International Federation of Actors (FIA) in calling for the World Intellectual Property Organisation to finalise the Audiovisual Performances Treaty. Following successfully lobbying efforts in Geneva, a resolution was passed at WIPO in June to convene a Diplomatic conference in order to conclude the Treaty during 2012. e. NATIONAL MINIMUM WAGE AND AGENTS In this year’s response to the Low Pay Commission consultation, Equity reiterated its call for better sector specific advice,

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action to tackle rogue agents and provided details of problems encountered when our members have called the Department for Business Pay and Rights Helpline. Following several complaints the Pay and Rights Helpline was ordered to provide correct advice about employing performers, in line with National Minimum Wage legislation. An updated You and Your Agent guide was produced during 2011 and together with BECTU, Equity continued to lobby for licensing of agents in the entertainment sector. Following correspondence with the Government’s Business Secretary Vince Cable, a meeting was arranged with the Head of the Employment Agents Standards Inspectorate to discuss how this could be taken forward. f. VETTING AND BARRING Equity provided evidence to a Government Review of the Independent Safeguarding Authority and continued to lobby Ministers for change to the Criminal Records Bureau system in early 2011. In February the Review reported its findings, alongside a separate, concurrent review into the CRB regime. The recommendations of the Review have been accepted by the Government and will be taken forward in the Protection of Freedoms Bill. The Bill includes measures to scale back the Vetting and Barring Scheme and the Criminal Records Bureau system. The Government’s decision to “very significantly curtail” the vetting and barring scheme will mean that only those in sensitive posts or who have intensive contact with children or vulnerable adults will need to be cleared and undergo criminal record checks. Other changes include penalties for those who knowingly request unnecessary checks, making CRB checks transferable between jobs, limiting the number of positions covered by CRB checks and an end to those working with vulnerable groups to have to register with the ISA. Equity wrote to the Minister (Tim Loughton) welcoming the changes. g. LICENSING ACT Equity has been working with a succession of Licensing Ministers and DCMS officials for some time on this issue. During meetings with Equity and the PAPG in 2010 and 2011 the current Licensing Minister, John Penrose, indicated that radical changes would be made to the Act. Equity then submitted evidence and encouraged members to take part in the Red Tape Challenge - a sector by sector review of regulations and legislation affecting businesses. Over the summer the review focussed on the hospitality sector, including the Licensing Act. In September the Licensing Minister, announced a consultation on scrapping parts of the Licensing Act in order to alleviate administrative burdens on those wishing to organise live entertainment. The consultation proposed to abolish the requirement to have a licence to put on live entertainment (including plays, film screenings, dance performances, live and recorded music but excluding boxing, wrestling and sexual entertainment) for audiences of up to 5,000. Premises licensed to sell alcohol would still continue to have to hold a licence but would be able to choose to vary their licence to remove the entertainment provisions. Equity welcomed the new, radical, proposals and believes that the changes will create more work for our members. Members were encouraged to contribute to the consultation and by the end of 2011 over 100 Equity members had made their own submission or signed letters of support for the Equity response. The union has also continued to support the Live Music Bill through parliament. By the end of 2011 the Bill had completed all stages in the House of Lords and proceeded to the House of Commons for consideration. Equity, the MU and other interested groups continue to urge the Government to reaffirm its support for the Bill, which could help it to complete all of the necessary stages before the end of this parliamentary session (April 2012). h. OTHER ACTIVITIES Equity worked with the UK Border Agency, DCMS, Arts Council England and PACT on a new route for ‘exceptional talent’ under Tier 1 of the points based immigration system. This route allows up to 500 artists and performers entry to the UK without a job offer if they have sufficient funds and can demonstrate evidence (such as receipt of a BAFTA or Golden Globe award). Equity lobbied local authorities including Wycombe, Southend and Hackney, arguing against the implementation of the sexual entertainment licensing provisions of the Policing and Crime Act and joined with the Musicians Union, GMB and local businesses and community groups in condemning Westminster Council’s decision to introduce new and significantly higher parking charges. Equity also met with Department for Work and Pensions officials in order to ensure that changes made as a result of the Government’s welfare reforms and the introduction of the Universal Credit would not adversely affect performers. Guild House also hosted a number of events and meetings with MPs, including several Creative Coalition Campaign roundtables.

D. MARKETING AND COMMUNICATION i. Job Information Service a. BREAKDOWN

Acting Male Acting Female

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10 Dance Male Dance Female Singing Variety Non-Performance (stage management/choreography design/directing) TOTAL JOBS

b. JOB PROVIDERS Casting directors:

ANNUAL REPORT 2011 191 179 344 96 117 1989

Debbie O’ Brien: for Grease, West End, The Sound of Music, Plenary Hall, Kuala Lumpur, Little Shop of Horrors, Kilworth House, Alice in Wonderland, Northampton Theatre Royal, A Chorus Line, Tel Aviv Performing Arts Centre, The Snowman, West End/tour, Cinderella, Cambridge Arts Centre, Starlight Express, Germany, P & O cruise contracts on Azura and Arcadia. Pippa Ailion: for Lord of the Flies, Regent’s Park Open Air Theatre Lord, The Rocky Horror Show, German tour, The Lion King, West End, Sweeney Todd, West End, Top Hat, Legally Blonde the Musical, West End, We Will Rock You, West End, Billy Elliot the Musical, West End, Million Dollar Quartet, West End, The Last Ship (workshop), Live Theatre Newcastle, Disney Dream, Disney Cruise line, Cape Canaveral. Casting Director Jill Green: for Rock of Ages, West End. Theatre Companies, Theatre in Education Companies and Regional Theatres: Chichester Festival Theatre, Young Vic, Old Vic, Almeida Theatre, National Theatre , Pitlochry Festival Theatre, Theatre Royal Plymouth, Theatre Royal Wakefield, The Lyric Theatre Belfast, Octagon Theatre, Bolton, Sheffield Theatre, West Yorkshire Playhouse, Royal Exchange Manchester, Theatre by the Lake, Dukes Lancaster, Roses Theatre, New Wolsey Theatre, Stephen Joseph Theatre, Belgrade Theatre, The Watermill, Royal & Derngate, Northampton, Queen’s Theatre Hornchurch, The Theatre Chipping Norton, Theatre Royal Stratford East, Mikron Theatre, Blunderbus Theatre Company, Quantum Theatre for Science, Kinetic Theatre Company, Half Moon, Young People’s Theatre, Pied Piper Theatre Company, Geese Theatre Company, Fuse Theatre, Fuel Theatre,Speakeasy Theatre Company, Freshwater Theatre Company, Northumberland Theatre Company, The Birmingham Stage Company, Oily Cart, Little Angel Theatre, Caboodle Blah Blah Blah, Red Earth Theatre, Y Touring Theatre, Theatre Sans Frontieres, Walk the Plank, 20 Stories High, The Customs House, Gala Theatre, Durham, Hull Truck Theatre, Punchdrunk, The Drum, Birmingham, Mind the Gap, Konflux Theatre in Education Theatre Centre, Women & Theatre Overseas Theatre Companies The English Theatre of Hamburg, Vienna’s English Theatre, White Horse Theatre Weekend Performing Arts Schools Stagecoach, The Pauline Quirke Academy of Performing Arts Drama Training RADA, East 15 Acting School, The BRIT School Dance Companies & Training Scottish Dance Theatre, Jasmin Vardimon Company, Ludus Dance, Candoco Dance Company, Siobhan Davies Dance Company, National Dance Company Wales, Rambert Dance Company, Shobana Jeyasingh Dance Company, Akademi South Asian Dance UK, Fleur Darkin Company, Motionhouse, Balbir Singh Dance Company, ROH2, Dance City, DV8 , Scottish Ballet, Northern School of Contemporary Dance, The Urdang Academy, English National Ballet School, DanceEast Universities, Schools & Colleges Nottingham University, Staffordshire University, University College Cork, Oxbridge Programs, Trinity College London, Calderdale College, Queenswood, The King’s School Ely, St Paul’s Girls’ School, Portsmouth Grammar School, Oxbridge Programs

Arts Organisations & Musuems

Rifco Arts, Horsecross Arts, Discover Children’s Story Centre, Shakespeare Birthplace Trust, The Falstaff Experience, National Maritime Museum, Eden Court, Kevin Spacey Foundation, Loudmouth Education & Training, Medieval Banquet London, InterAct Reading Service Circus Arts H20h!, Mimbre Opera Glyndebourne, Scottish Opera, Opera North Entertainment/Leisure Attractions Madame Tussauds, Chessington World of Adventures,Thorpe Park,Merlin Entertainments ,Thursford Christmas Spectacular

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Universal Studios Japan Producers Queen Theatrical Production Ltd,Stage Entertainment,Ambassador Theatre Group,Working Title Films Cruise Entertainment Jean Ann Ryan Productions,Royal Caribbean International ,Belinda King Creative Productions Holiday Parks Siblu Holidays, Sanii Resort A diverse range of jobs posted during 2011 include the posts of: Artistic Director for The Citizens Theatre, Bush Theatre, Gate Theatre Notting Hill, Yellow Earth, Unicorn Theatre, Traverse Theatre, The Birmingham Repertory Theatre, Theatr Genedlaethol Cymru, Talawa Theatre, Tricycle Theatre, Scottish Dance Theatre and Chester Mystery Plays in Chester Cathedral; Assistant Director for the National Theatre of Scotland and Theatre Royal Plymouth; Resident Director for Billy Elliot the Musical; Creative Associate for National Theatre Wales; Dramatic Presenters for Shakespeare Birthplace Trust; Story Builders for Discover Children’s Story Centre; Facilitators for Sheffield Theatres ‘Behind the Curtain 2011’; Actors/Interpreters for the National Maritime Museum; Theatrical Artists for London 2012 Ceremonies; and a Theatrical Consultant for The National Railway Museum. New Jobs Providers include: Chester Mystery Plays, Theatr Genedlaethol Cymru , Los Kaos, Bright Night International, Skelton School of Classical Ballet Bath Soft Cheese,Arcadia,Ballet Nimba,Dora Frankel Dance,The Centre for Performance Research at Aberystwyth University, Disability Arts Cymru, Arts Care Gofal Celf, Embrace Arts, Sport 4 Life UK, Portsmouth Museums and Records Service, London Speech Workshop, Kamea Dance Company, ALRA, OYAP Trust, Salford Community Leisure, Napier University, Darlington Arts Academy, Brighton Dome and Festival Limited, Cross Connection Ballet Company, First Hand Theatre Company, Outburst Theatre Actionwork, Everyman Palace Theatre, Darren Ellis Dance,George Watson’s College, Wayne Sables Project , Calderdale College, University College Cork, York College, Angel Exit Theatre, Mad Alice Theatre Company, Peut-etre Theatre, Theatre in the Quarter,Red Herrin Games , Powys Dance, Artemis Actors Company, Wiltshire Youth Arts Partnership, Justify Move Dance Academy,Adele’s Dance School ,State of Emergency (UK), Q20 Theatre ,Brookfest Festival,Lee Mountjoy Casting , The Bohemian River Ensemble

ii. Events In 2011 Equity members and Organisers representing the union participated in the following as exhibitors, panellists, workshop providers and speakers further raising the profile of Equity amongst members and potential members and within the wider industry. ActorsExpo; Blackpool Magic Convention; Bright Young Things; Catholic Association of Performing Arts (CAPA) Annual Student Event; The Clothes Show; Comedy School’s Funny Festival; Covent Garden May Fayre and Puppet Festival; Clowns International Convention; The Dance Show; Edinburgh Festivals; Glastonbury Festival; International Brotherhood of Magicians Convention; Keeping It Live Showcases; Kidology; Launch!; Leicester Comedy Festival; London Fashion Weeks; Move it!/ Perform; National Student Drama Festival; Performers’ Alliance Parliamentary Reception; Spark Children’s Arts Festiva; Various student showcases. We also launched our new Equity Deputy Network, ran the Clarence Derwent Awards Ceremony and included the presentation of our Young Member and Student Member Bursaries within that.

iii. Website and Social Media The new website launched in April 2011. There has been a notable increase in members joining and re-join the union via the website and the home page is very active with updates about campaigns, news and events. Many members have added themselves to the new online directories and this can be done from the members’ area of the site. Registration is free and takes moments and the members’ area includes access to the Job Information Service and increasing interactivity and interconnection amongst members via the forum, networks, branches and committees all of whom have space on the new site. Social media activity under the banner EquityUK increased with more than 8,000 people using our facebook and more than 9000 followers (includes journalists, news organisations, arts organisations as well as members) on Twitter. In 2011, we also established @equity_events on Twitter where we tweet about the union’s outreach activities and opportunities We further developed specific facebook pages for our LGBT members, members with disabilities and the Equity models’ facebook relaunched, alongside specific Twitter accounts. For photos of Equity’s work we have a stream on www.flikr.com – search for EquityUK and we continue to add to our YouTube and to update our international campaign websites www.ipat.org.uk and www.artistsfreedom.org

iv. Training

We continued to develop a series of workshops for activists and members interested in becoming more active in their union. During 2011 this included training for members new to committee work; short modules forming part of West End Deps’ meetings; a day workshop for members interested in forming a local Equity branch; variety branch Recruitment Co-ordinator

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training and Changing the Face of the Union training programme with sister entertainment industry unions. These added to the existing training provision focussed on Equity and active participation of members such as our Ambassadors. We started to develop a training programme for Organising Trailblazers which will be delivered as a pilot in 2012. Our joint Federation of Entertainment Unions (FEU) project continued with the Writers Guild of Great Britain (WGGB) joining for the first time in 2011. We were able to run a series of free, practical, one-day workshops around England on a range of subjects that members wanted. This series will continue until the end of March 2012. Although the project is for all FEU members the demand from Equity members has been so large that we have run some extra sessions purely for our members on waiting lists. We ask members who get places for any of our training and who then cannot take up their place to let us know immediately as we always have waiting lists. A new funding bid was submitted at the end of 2011 for extending the project to develop all the materials into a digital learning centre as part of the project’s website: To access the many resources on the website members need to register for free at www.feutraining.org. In Wales our multi-union partnership CULT Cymru continued and the programme of short continuing professional development (CPD) workshops delivered accessible training to Equity members and those of sister unions (BECTU, WGGB, MU). Voice, NLP, health and safety, using social media are just a few of the topics covered. For more information members in Wales should look at www.cultcymru.org In 2011 Equity’s three Careers and Learning Advisors delivered one-to-one sessions to members who contacted them directly. The advisors also contributed to some of our outreach work. All three are Equity members who continue to work as performers and who have been trained to the national gold standard for delivering Information, Advice and Guidance. Information about them and how the service now operates is available on the Equity website (www.equity.org.uk/jobscareer/) or from Louise Grainger (020 7670 0214) During the Equity@ Edinburgh week of workshop activity, we ran a series of successful 2 hour sessions on: Doing it For Money as well as Love; CVs and Self-marketing; Stand up Comedy Taster and Injury Prevention. Equity officials were panellists at sessions on two symposia: Dance and Cabaret. We also ran a daily Drop-in Advice Zone during the dedicated week and weekly for the rest of the festival, for people to raise issues or problems they were experiencing with us or to find out more general information. All our workshops are free of charge at the festival and we publicise the series by email, on the website and in other ways.

v. Publications The Equity Diary continued to be well-received and the latest version incorporated some suggestions from members. In addition to this, the Review of the Year and Annual Report we published a completely revamped version of the New Member’s Guide which is sent to members with their first Equity card and a new publication: Equity Models which was distributed at London Fashion Week and the Clothes Show. We continued the ongoing review our recruitment materials and created a new suite of leaflets and other print for specific areas of the industry. We encourage members to get supplies of these from Head Office (020 7670 0273) to put into green rooms, notice boards etc wherever you are working.

E. RECRUITMENT & RETENTION Equity ended 2011 with 34,554 paying in-benefit members – a 1.2% increase on 2010, and a new record high. The number of total in-benefit members (including life members) was 36,785. The student membership scheme also reached a new high of 5633 – an 8.5% increase on 2010. 1786 members rejoined the union in 2011 and 2635 members joined for the first time, an increase of 9% and 5% respectively. The economic situation facing our members continues to be a concern, and 2012 will be a challenging year for membership numbers. We remain positive that the hard work of union members and officials, together with the developments in communications and recruitment materials, will enable the union to continue to buck the trend for declining numbers experienced by our sister unions.

F. CLARENCE DERWENT AWARDS Sheridan Smith and William C A Gaunt have won Equity’s Annual award for a supporting role in a West End production. The Clarence Derwent awards date back to 1948 and have an illustrious history of rewarding some of the most respected names in British theatre, but also many other actors whose contributions to British theatre is highly prized by their peers. This year Sheridan Smith won for her role as Doris (Countess Skriczevinsky) in Flare Path and William C A Gaunt for playing Worcester and Shallow in Henry IV Parts I and II. The judges for the award are critics Kate Basset from The Independent and Michael Billington from The Guardian, theatre director Richard Digby Day, theatre producer Thelma Holt, actor Peter Barnes and Equity President Malcolm Sinclair. Michael Billington praised the winners and said: “Sheridan Smith got the prize because she was so truthful and moving as the wartime Countess. The scene where she learns of her husband’s supposed death was played with a resilience that broke one’s heart. William Gaunt was given the award because we all felt that he provides a model of how to speak Shakespearean verse and exuded his customary integrity in one particular Globe production. “But we were also recognising a long career that has been exemplary in its honesty and truth.” The awards ceremony took place on 18 November at the Duke of York’s Theatre in London, where Equity also presented the 2011 young member and student bursaries.

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ANNUAL REPORT 2011

INDUSTRIAL & ORGANISING

In May 2011 Equity’s Industrial and Organising functions, including the work of the industrial departments of Live Performance and Recorded Media were brought under a new structure led by one Assistant General Secretary, Industrial & Organising working in conjunction with the two Heads of Department, Hilary Hadley and John Barclay. This occurred once the former Assistant General Secretary of Recorded Media was appointed to the position of CEO of the British Equity Collecting Society (BECS) on a full time basis. The body of work undertaken by the departments is outlined in the respective sections of the Annual Report detailing, for example, the claims developed in consultation with members and Working Parties in Commercial Theatre and the West End for the next round of negotiations and the efforts through the development of an industry discussion paper to move forward negotiations with the BBC, ITV, PACT, Channel 4, Sky, other producers and broadcasters. In the Nations extensive work has been undertaken developing a ‘Broadcasting In The Nations’ campaign seeking to highlight to the producers, broadcasters and politicians the importance of local jobs, in local production. All industrial work within Equity now takes into account the context of the Union’s organising approach ‘Organising for Success’, which outlines how members and staff can work together on a common agenda to undertake industrial and campaigning activity in more flexible, integrated and grassroots led manner. Examples during the course of the year included the campaign on the Dukes Theatre, Lancaster, led by activist Peter Rylands with a campaign committee of members, facilitated by organiser Jamie Briers, the BBC Birmingham Campaign led by activist Tracey Briggs working with Branches and Committees in the area, facilitated by Head of the General Secretary’s Department Louise McMullan, the Westminster West End Parking Campaign led by Variety Councillor Annie Bright, with the support of other London Councillors and again facilitated by Louise McMullan. In all cases groups of members developed networks to raise concerns on issues which were widely, strongly and deeply felt by Equity members. At the Dukes members were concerned the theatre was reducing in-house productions in response to funding cuts, at the BBC there was concern that the ‘Delivering Quality First’ document meant a significant decrease in activity in Birmingham, in the West End that Westminster Council’s attempts to introduce evening and weekend parking charges would increase significantly the costs for working Equity members. In all cases Equity members were brought into contact with, in and some cases alliance, with other groups and bodies that could influence opinion and decision. In the Dukes campaign the local Arts Council was drawn into talks and the issue was promoted through local media, and to Councillors and MPs. In Birmingham politicians were also drawn into discussions, and in Equity’s and other submissions to the BBC the issues were identified. In Westminster a community coalition of forces including musicians, churches, politicians, bikers groups, business people and even the London Evening Standard was built. As probably the best example of the success this kind of campaigning can achieve, not only did the Council, after a protracted battle, back down and reverse its decision, but the leader of the Council responsible, resigned. These campaigns, conducted on a broader level than before, represents a progressive development in Equity’s role as an organising and campaigning trade union. It unlikely to be a co-incidence that Equity’s recruitment and retention continues to be successful in very tough times; Equity is at the end of 2011 an organisation of approximately 36,800 members; 300 more than in 2010. The traditional view of how Equity works is that members pay a subscription to the organisation so it can hire staff to provide a service to members, and it is true that is, and will remain, an important part of the Union’s function. But it is only part of it. Another important function of a trade union is to facilitate its members to organise to achieve their industrial and professional goals. Meetings of formal bodies, in rooms, with minutes and motions is a part of that process, but once again it is only part of that process. The main way Equity members achieve their goals is by organising, facilitated by professional staff. This happens in campaigns such as the Dukes, BBC Birmingham and Westminster Parking – and before that in Bristol and the Bristol Old Vic campaign following which the Bristol General Branch was formed. It also happens in industrial negotiations through working parties and networks of members, both in workplaces and geographically. Members need to be organised to put pressure into the negotiating process to make employers see more clearly the hopes and aspirations of Equity’s membership, and taking action is as important a part of the process, as talking about it. Favourable changes to the Licensing Act, and protection of members royalties on cast albums, campaigns worked on in 2011, combined talking and doing, to achieve success. To précis and conclude, members cannot be expected to fend for themselves to achieve results and staff cannot be left to produce miracles on their own. Members and staff working together on common agendas which are widely, deeply and strongly felt, and ideally which are winnable, is the order of the day. ‘Organising for Success’ is not rocket science. However it does needs the organisation to be using the correct fuel to allow it to fire to its full potential. Stephen Spence ASSISTANT GENERAL SECRETARY Industrial and Organising Equity

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ANNUAL REPORT 2011

CHAPTER 2:

LIVE PERFORMANCE A. GENERAL

i. Theatre Fight Directors Following a 3.5% increase the minimum fees listed will be effective from 4th April 2011 - - - - -

West End/RNT/RSC/Major Opera and Dance £112.70 Commercial/MRSL 1/CFT £100.20 MRSL 2 £89.00 MRSL 3/Minor Opera and Dance £76.60 ITC £73.50

In line with other Equity Creative Team Agreements, the Agreement will run over a period of three years from 2010-13 with annual increase of RPI% capped at 3.5%.

ii. Overseas Touring

The rate for touring to America is currently $73.50 per day. The TMA are seeking to enter into a new arrangement concerning the FCO rates, given the FCO have announced that they will not be publishing these in the future, but as yet have not put forward concrete proposals, despite an initial meeting early in the year. The rates determined by Clause 6(b) of the Overseas Touring Agreement are £17, £41 and £54 respectively.

B. LONDON THEATRE

i. West End Theatre Agreement

From 10 January 2011 the minimum rates applicable on the West End Agreement increased by the December RPI which was 4.7%, giving the following minimum rates: Category A ASM/Performer DSM SM Category B ASM/Performer DSM SM

Category C ASM/Performer DSM SM

£577.58 £627.58 £677.58

£525.07 £575.07 £625.07

£472.56 £522.56 £572.56

Our current four year Agreement with SOLT for the engagement of performers and stage management in the West End runs out in January 2013. We have to give 12 months notice of our claim. The Council set up a working party which is comprised of many working members. In the summer of 2011 we sent 1425 members who either are or have been working in the West End, a questionnaire to find out what they wanted to go in the claim and we received responses from 459. We also met with representatives of the PMA and the Guild of Casting Directors for their input. The resulting claim which goes under the banner ‘rewarding responsibility’ was given to SOLT on 7 December 2011.

ii. West End Choreographers’ Agreement

2011 is year two of a four year Agreement commencing 5 April 2010 with RPI increases subject to a ceiling of 3.5%. The 3.5% increase was implemented in April to bring the minima to the following rates: Category A theatre (1,100 seats +) Category B theatre (800 – 1,100) Category C theatre (up to 799 seats) The current rates are as follows:

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ANNUAL REPORT 2011 Clause 17 .1.1

Clause 17.1.2

Clause 17.1. 3

Clause 17.2.1

Clause 17.2.2

Clause 17.2.3

Clause 17 .3.1

AC Appendix 5 .4

15 Minimum fee for musicals Category A Category B Category C Additional weeks A Additional weeks B Additional weeks C Minimum royalty A Minimum royalty B Minimum royalty C Minimum fee for plays Category A Category B Category C Additional sessions Category A Category B Category C Minimum royalty Category A Category B Category C Small amount of choreography, per session

Daily rate

£4,021 £3,846 £3,496 £805 £770 £700 £168 £153 £139 £2,351 £2,248 £2,044 £136 £130 £118 £83 £79 £72 £118

£125

iii. West End Directors’ Agreement

Under the agreement reached in 2010 the minimum rates on this agreement apply from 1 August 2011: Category C £3189 Category B £3508 Category A £3668

iv. Shakespeare’s Globe

This house agreement is negotiated annually and we achieved an increase in the actors’ rehearsal, minimum performance/ ASM rates and standard performance rates of 3.5%, 3.35% and 2.79%. The DSM rate was increased by 3.6% and Head of Stage Management by 5.57%. This resulted in the following rates for 2011: Rehearsal rate £ 473 Minimum performance rate £ 525 Standard performance rate £ 590 Stage management assistant £ 525 Stage management Deputy £ 575 Senior stage management £ 625 In addition, during the 2011 season the Globe mounted two touring productions engaging performers and stage management on the Commercial Theatre Agreement.

v. Disney Theatrical Productions Limited

This agreement was renegotiated with effect from 19 October 2011 and we entered into a three year agreement with Disney Theatrical which gave an increase of 5.2% on minimum salaries and the Sunday payment and 4.7% on all other items. This resulted in the following minimum rates for 2011: Rehearsal salary £617.32 Performance salary £617.32 plus £56.12 for Sunday performance ASM £617.32 plus £56.12 for Sunday performance DSM £660.23 plus £56.12 for Sunday performance SM £746.05 plus £56.12 for Sunday performance Dance captain £148.58, Swing £ 74.27, Understudy obligation £ 29.70, Understudy performance £29.70

v1. West End Deputies’ Committee

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ANNUAL REPORT 2011

The Committee met seven times during 2011. Throughout 2011 Rebecca Louis remained Chair of the Committee and Graham Hookham as Vice-chair. Marc Vastenavondt and Garth Jacobs were the Committee’s representatives to the ARC. The Committee’s motion to the 2011 ARC sought to ensure that Equity members were treated fairly with regard to their insurance needs. The Backstage Conditions Campaign was wound up with the provision of a leaflet to be circulated to all members working in the West End. Equity’s campaign to get additional holiday in compensation for the additional public holiday declared for the royal wedding gained much support but after a ballot and legal advice regarding a possible one hour strike, this matter was not pursued. Deputies in musicals were asked to step up recruitment in advance of a claim for a new West End agreement. Rebecca Louis, Graham Hookham, Alex Harland, Anthony Shuster, Jonathan Coy, Belinda Lang and Nick Crossley were all co-opted onto the West End working party.

C. COMMERCIAL AND SUBSIDISED THEATRE i. Commercial Theatre Agreement

The minimum weekly salaries currently being paid (from April 2011), are as follows:

MINIMUM WEEKLY PAYMENTS Normal Minimum Once-Nightly In rehearsal Rehearsal Performer/ASM 347.00 Rehearsal DSM 434.00 Rehearsal SM 485.00 Rehearsal C&SM 520.00 In performance Performer/ASM 400.00 DSM 500.00 SM 560.00 C&SM 600.00 Exceptional Minimum Once-Nightly Performer/ASM 315.00 DSM 394.00 SM 441.00 C&SM 473.00 Subsistence Touring Allowance OTHER PAYMENTS Daily Touring Allowance Understudy obligation payment (per role per week) Understudy performance payment (per performance) Understudy performance payment (ceiling) Swing Dancer (per week) Dance Captain (per week) Flying (per week) Ceiling Salary (per week) Mileage Allowance OTHER CHANGES WITH FINANCIAL IMPLICATIONS Ongoing absence – number of performances Christmas shows fraction to reduce

Twice-Nightly 347.00 434.00 485.00 520.00 435.00 535.00 595.00 635.00 Twice-Nightly 338.50 419.00 470.00 503.00 105.00 197.00 42.34 15.06 22.57 67.72 18.84 33.87 42.14 597.48 0.48 24 1/12th

The Union gave notice to the TMA in September 2011 of revisions for the Agreement. These revisions were arrived at following consultation with over one thousand members who have worked on the Agreement since it was last renegotiated via an electronic survey. The Working Party convened by Council discussed those recommendations and put the following to Council as a proposal for a claim: • Raise the minimum rate for rehearsals from £347 to £400, in line with the performance minima

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ANNUAL REPORT 2011 • • • • • • • • • • • • • •

All other payments (except the following additional payments) to rise at the rate of RPI Understudies: new leading role rate of £32 and a rise in the understudy rate to £16 from £15.06, with such payments commencing from the first day of rehearsals Creation of a ‘Fight Captain’ payment, in line with the payment for dance captain Touring allowance to rise to £225 from £197, and subsistence to £131 from £105 Rail fares to be paid at the value of travel a week in advance Better digs list provision Reduce the hours of work from 46 to 44 A new equal opportunities clause The inclusion of ‘reasonable’ in the clause relating to publicity calls Clearer requirements on cleaning and maintenance of costumes Requiring the Manager to provide and clean stage management blacks Requiring the Manager to ensure that green rooms are used by performers and stage management where available Requiring written confirmation of dates when pension contributions have been remitted at the end of a contract Revising the compensatory rest clause to better protect stage managers from being required to work on a thirteenth consecutive day

ii. Subsidised Repertory Agreement

Following the conclusion of negotiations in 2010, the new Agreement was circulated, and the following minima apply from

Performers Minimum Salary MRSL Grade 1 & 2 Theatres MRSL Grade 3 Theatres MRSL Grades MRSL Grade 1 Theatres MRSL Grade 2 Theatres MRSL Grade 3 Theatres Stage Management ASM Grade 1, 2 and 3 Theatres DSM Grade 1 Theatres Grade 2 Theatres Grade 3 Theatres SM Grade 1 Theatres Grade 2 Theatres Grade 3 Theatres CSM - Grade 1 Theatres Grade 2 Theatres Grade 3 Theatres Subsistence & Travel Relocation Allowance Commuting Allowance Touring Allowance Daily Touring Allowance Out of pocket expenses Mileage Allowance Other Payments Understudy obligation (per week) Additional roles Performance payment – leading Performance payment – other Flying SM in costume SM extra services Head Boy/Girl Sunday Performance Payments One Show Two Shows

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£380.00 £365.00 £449.00 £398.00 £372.00 £344.00 £401.00 £363.00 £354.00 £449.00 £398.00 £372.00 £486.00 £430.00 £405.00 £138.00 £121.00 £195.00 £32.12 £10.35 £0.44 £16.75 £5.75 £20.41 £12.38 £34.05 £5.14 £86.18 £25.35 £50.00 £100.00

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ANNUAL REPORT 2011

4th October 2010 – 1st April 2012:

iii. Theatre Choreographers’ Agreement

Negotiations have now concluded for a new Agreement from October 2010 with a 2.5% increase followed by RPI increases in the Commercial Sector for 2011 and 2012 subject to a 3.5% cap. In the subsidised sector the increases agreed are from October 2010, MRSL 1 – 4%, MRSL 2 3.5%, and MRSL 3, 2.5%, with financial increases for 2011 and 2012 limited to 2.5% on all grades.

DESCRIPTION Minimum fees:

Additional weeks:

Commercial Theatre Tours and Seasons Lower Minimum/Commercial Repertory Subsidised Repertory MRSL 1 MRSL 2 MRSL 3 Commercial Theatre Tours and Seasons Exceptional minimum Subsidised Repertory MRSL 1 MRSL 2 MRSL 3

£ £1,194. £641.30 1159.02 1025.44 952.92 408.44 268.40 464.01 410.28 381.39

Daily engagements:

Additional days:

Tours and Seasons/MRSL 1 and 2 MRSL 3 Exceptional minimum Tours and Seasons/MRSL 1 and MRSL 2 MRSL 3 Lower Minimum/Commercial Repertory

184.25 141.10 106.59 124.26 112.48 79.27

New figures are from April 2011 to April 2012 as follows: EQUITY/ITC AGREEMENT FOR CHOREOGRAPHERS The Agreement is running without problems and the rates increased by 3.9% in line with the performers rates. From April 2011 The minimum rates are as follows: Full fee Additional weeks Minimum daily rate Minimum 3 hour session rate

£1,613 £400 £130 £84.00

The minimum 3 hour session rate can only be used in the event that the location of the work required is in the same town as the Choreographer’s home address.

iv. Theatre Designers’ Agreement The current Designer minimum rates (including last uplift dates) are: SOLT / EQUITY Designer Agreement In line with other Equity Creative Team Agreements, the Agreement will run over a period of three years from 2010-13 with annual increase of RPI% capped at 3.5%. Effective from 6th April 2011:

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ANNUAL REPORT 2011

MINIMUM FEES Sets a Major Musicals b Musicals c Straight Plays/Small Musicals d Weekly Fee Costumes a Major Musicals b Musicals c Straight Plays/Small Musicals d Weekly Fee Lighting a Major Musicals b Musicals c Straight Plays/Small Musicals d Weekly Fee Expenses per day overnight

CAT A

CAT B

CAT C

5,897.00 4,589.00 3,410.00

5,641.00 4,389.00 3,262.00

5,128.00 3,990.00 2,965.00

178.00

171.00

155.00

3,935.00 3,082.00 2,295.00

3,764.00 2,948.00 2,195.00

3,422.00 2,680.00 1,996.00

137.00

131.00

119.00

2,955.00 2,295.00 1,705.00

2,826.00 2,195.00 1,630.00

2,569.00 1,996.00 1,482.00

106.00

102.00

93.00

52.41

50.13 112.83

45.57 102.57

117.96

TMA/EQUITY/BECTU Designer’s Agreement Negotiations on this agreement concluded in July 2011. As a result, rates were agreed on the following lines for the next three years: Resident Designers (subsidised): 1% each year Freelance Designers (commercial): 2.5% each year Freelance Designers (Opera & Ballet, National Theatre, Royal Shakespeare Company): No increase Acceptance of the offer was contingent on a formal meeting between the Organiser and the committee Chairman and the TMA to discuss the applicability of minimum rates. A full report on this can be found in the ‘Theatre Designers’ Committee’ section of this report. RESIDENT DESIGNERS Minimum weekly salaries 4th April 2011: Head of Design MRSL 1 MRSL 2 MRSL 3

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£ 451.60 438.88 398.62

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20 Resident Designer MRSL 1 MRSL 2 MRSL 3 Assistant Designer

ANNUAL REPORT 2011 Â£ 418.99 405.22 367.35 343.16

FREELANCE DESIGNERS Minimum fees with effect from 1st November, 2010: (increase 5%)

RSC / RNT Full Small Subsidised Theatre MRSL 1 3,483 Tour Studio / Workshop MRSL 2 / 3 Studio / Workshop Commercial Theatre Higher Minimum Tour / Season / Musical Straight Play Exceptional Minimum Tour / Season / Commercial Rep Opera A (ROH, ENO) Full 1 Act and Small-scale tours Opera B (SO, WNO, Opera North, GTO) Full One Act Small-scale tours Opera C Full One Act Ballet A (RB, BRB, ENB) Full One Act Small-scale tours Ballet B (Rambert, NB, SB) Full One Act Small-scale tours Ballet C Full One Act

6,064 3,638

1,481 2,552 1,229 3,068 2,467 1,327 6,666 3,100 4,849 2,064 2,272 2,281 1,037 6,064 1,939 2,272 3,113 1,136 2,272 2,281 455

LIGHTING DESIGNERS

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ANNUAL REPORT 2011

Lighting Designers’ minimum fees uplifts (following the uplifts awarded to all freelance designers) as of 1st November 2010 RSC / RNT Full Small Subsidised Theatre MRSL 1 Tour Studio / Workshop MRSL 2 / 3 Studio / Workshop Commercial Theatre Higher Minimum Tour / Season / Musical Straight Play Exceptional Minimum Tour / Season / Commercial Rep Opera A (ROH, ENO) Full 1 Act and Small-scale tours Opera B (SO, WNO, Opera North, GTO) Full One Act Small-scale tours Opera C Full One Act Ballet A (RB, BRB, ENB) Full One Act Small-scale tours Ballet B (Rambert, NB, SB) Full One Act Small-scale tours Ballet C Full One Act

2,779 1,390 1,300 1,812 623 710 566 1,939 1,082 518 3,243 1,485 1,852 842 923 927 511 1,852 842 923 1,619 632 855 813 511

ITC/EQUITY Designers’ Agreement Minimum agreed rates from April 2011 to April 2012: Designer’s fee Weekly fee for making

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£2185.00 £ 428.50

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ANNUAL REPORT 2011

v. TMA Theatre Directors’ Agreement

Negotiations on the TMA Theatre Directors’ Agreement were finally concluded in May 2011. This gives the following minimum rates for 2011: SUBSIDISED REPERTORY Freelance Directors Fee Grade 1 £2804.19 Grade 2 £2500.28 Grade 3 £2332.69 Artistic Directors Grade 1 Grade 2 + 3

£612.07 £554.65

Resident Directors Grade 1 Grade 2 Grade 3 Assistant Directors

£507.50 £473.21 £441.35 £380.92

COMMERCIAL REPERTORY Freelance Fee Exceptional Minimum weekly fee Normal minimum weekly fee

£2072.92 £384.94 £461.97

COMMERCIAL TOURS AND SEASONS Exceptional minimum short run £1602.31 Exceptional minimum long run £2403.46 Normal minimum short run £2136.06 Normal minimum long run £3560.10 Exceptional minimum weekly fee £320.46 Normal minimum weekly fee £427.21

D. ROYAL NATIONAL THEATRE

Each production elected a Deputy throughout 2011 following visits in the rehearsal periods. A claim for 5.3% on the minimum rates was submitted being March’s RPI which was not agreed. An increase of 2% was agreed on the minimum basic with other rates increased by 1.5%.

i. Actors The rates from April 2011 are as follows: Minimum basic Minimum performance fee Minimum rehearsal salary Maximum rehearsal salary

£400 £23.43 £416.73 £823.64

Equity Pension scheme Employer’s contribution

5% of total salary Minimum £15.82 per week Maximum £46.74 week

Employee’s contribution

2.5% of total salary Minimum £7.92 per week Maximum £23.38 per week

Daily touring rate

£55.12 (Review pending)

Sunday performances are 15% of basic salary plus £40 The NT Live Agreement continued with recordings taking place, with royalties now being paid to actors.

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ANNUAL REPORT 2011

ii. Stage Management Until April 2011 financial increases had been agreed for a 1% increase only, but it was agreed on the basis that should the grant from the Arts Council for 2011/12 remain at current levels, a further 1% would be paid backdated to April 2010. The Arts Council grant decreased and therefore the additional 1% was not paid. In August a financial settlement of 1.5% was agreed. Ben Donaghue and Neil Mickel remained as the elected Deputies for the group and thanks are recorded to them. The new salary rates for 44 hour per week staff are as follows: Senior Stage Manager Stage Manager Senior Deputy Stage Manager Deputy Stage Manager Senior Assistant Stage Manager Assistant Stage Manager

£40,901.16 £39,882.24 £37,205.64 £36,250.44 £33,766.20 £32,364.36

Staff engaged on a 40 hour week are paid proportional salaries to the above based on the hourly rate, for example ASM, £29,422.20

E. ROYAL SHAKESPEARE COMPANY

Following a pay freeze on salaries last year, the RSC were able to pay a 2% increase on all the minimum salaries and the CPI rate of 4% on the touring and subsistence rates for 2011. This gave the following rates from April 2011:

Performer’s Minimum Salary Stage Management Minimum Salaries Basic Rates Assistant Stage Manager Deputy Stage Manager Stage Manager Company Stage Manager

£435.05 £507.58 £580.08 £638.09

Higher Rates Assistant Stage Manager Deputy Stage Manager Stage Manager Company Stage Manager

£459.22 £535.78 £612.31 £673.56

Assistant Director Minimum Salaries New starter Standard Additional experience Subsistence Allowances Stratford London (first four weeks) London (per week thereafter) Touring Allowance Weekly Rate Daily Rate

£380.00

£455.15 £498.88 £524.19 £200.00 £332.45 £266.24 £421.75 £60.25

F. INDEPENDENT THEATRE ARTS (Formerly Small Scale Theatre) i. General

Independent Theatre Arts Committee (ITAC) The committee met five times during the year, three of which were with the committee 2009-11, and one with the committee 2011-13. In addition, there were three working party meetings, two with the committee 2009-11, and

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ANNUAL REPORT 2011

one with the committee 2011-13. In the first quarter of the year, much effort was directed from the Committee toward rolling out and publicising the outdoor touring guidelines, led by Andrew Macbean. The project was a success, with ten companies using the guidelines in 2011, the first year of their operation. Throughout the year special scrutiny was given to encouraging companies onto Equity agreements, especially through the ITC. The Committee assisted in the research and establishment of a database of over 1,000 theatre companies nationwide, detailing their contacts and contract status. The Committee continues to be actively involved in researching and identifying an average of a dozen companies a month to approach to encourage onto Equity agreements. In addition to this the Committee has galvanised itself with the anti-cuts campaign of the Union, building on the success of the manifesto for theatre campaign, including special attention to new National Portfolio Organisations (NPOs) who are not on contract, as well as participating the Union’s ‘March for the Alternative’ contingent. The Committee partnered with colleagues in Scotland in order to help research and map the Edinburgh Fringe. Further activity is planned for 2012 around the London and other fringes, particularly around issues of no and low pay. The Committee’s working parties focussed on improving the ITC agreement and reviewing its operation. Negotiations will commence in 2012. The Committee changed in composition in July 2011, but not enough nominations were received for an election to be held. Hannah Packham, secretary since 2009 left in April and was replaced by the current secretary, Paul Fleming. Members of the Committee 2009-11: Frances Rifkin (Chair) Andrew Macbean (Vice-Chair) Andy Medhurst (Councillor) Iain Armstrong Morna Burdon Deborah Charnley Katharine Kavanagh Caron Jane Lyon John Plews Ian Teague Nick Russell Members of the Committee 2011-13: Andrew Macbean (Chair 2011-2) Frances Rifkin (Chair 2012-3) Andy Medhurst (Councillor & Vice-Chair) Katharine Kavanagh (Minutes Secretary) Morna Burdon Norma Dixit Hasan Dixon John Gregor Nigel Harris Caron Jane Lyon John Plews Lee Ravitz Independent Theatre agreement Minimum Salary from 4th April 2011: £400.00 Relocation costs London companies Out of London companies

£105.00 £ 85.70

Accommodation

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ANNUAL REPORT 2011

Own paying Accommodation Allowance (not own home) Weekly Touring Allowance

£33.15 £10.50 £255.00

Meal Allowances Overnight – breakfast provided Overnight – breakfast not provided Commuting costs threshold

£14.60 £21.20 £20.40

ii. Equity/ITC Agreement for Choreographers

The Agreement is running without problems and the rates increased by 3.9% in line with the performers rates. From April 2011 The minimum rates are as follows: Full fee £1,613 Additional weeks £400 Minimum daily rate £130 Minimum 3 hour session rate £84.00 The minimum 3 hour session rate can only be used in the event that the location of the work required is in the same town as the Choreographer’s home address.

iii. ITC/Equity Designers’ Agreement

Minimum agreed rates from April 2011 to April 2012: Designer’s fee £2185.00 Weekly fee for making £ 428.50

G. OPERA

i. Agreement for Opera Singers

A claim was submitted in December 2010 for an increase of 5% to bring up the minimum rates against a background of rising inflation which was 4.7% in December. This claim has not been agreed and the Managers have failed to respond collectively through SOLT/TMA although they have been engaged in individual House Agreement negotiations. The minimum rate remains as at April 2010 at £353.

ii. Guest Artists

A claim was submitted for 5% for this agreement which is used widely in the industry particularly for the engagement of understudies. Again the Managers have refused to address the claim and the rates remain as April 2010 as follows: Rehearsal Salary £300 per week Session Fee £68.00 three hour session Performance Fee £243.00 Cover Fee £ 84.50 Cut off 2011 £1010.00 Subsistence £79.00

iii. Opera and Ballet Stage Management The rates remain as at April 2010 as follows: ASM DSM SM CSM Subsistence In costume Dress allowance

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£315.00 £335.00 £365.00 £403.00 £ 79.00 £15.15 £10.10

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ANNUAL REPORT 2011

iv. Agreement for Opera Directors 2006

The Agreement has now expired and a claim has been made to SOLT/TMA to renew for a further four year period with financial increases of RPI plus 1%. This would mean an increase of 5.4% from April 2010. As yet there has been no confirmation whether this has been accepted and new figures are awaited.

v. Royal Opera House/English National Opera Main House Studio

£8,832.00 £5,005.00

vi. Glyndebourne, Scottish, Welsh National Opera, Opera North Main House Studio

vii. All other companies

All other companies

£6,242.00 £3,772.00

£3,777.20

viii. Opera Singers Pension Scheme

There is nothing to add since the Annual Report of 2010 which stated that the money purchase scheme funds have transferred to Norwich Union with First Act administering the new Opera Singers Pension Scheme. The Royal Opera House and Opera North agreed to fund additionally the life cover element which will make the money purchase scheme more beneficial than the old scheme, and although the other Houses will not do this, the other members agreed to fund the contribution from their own contribution. Equity continues to pay this in advance and recoup the money from the various Houses, so that the new Opera Singers Pension Scheme is now fully operative. Legal and General are now administering the Final Salary section of the scheme, although there are still data transfer issues that need to be resolved before the Scheme can be wound up. The Trustees are awaiting one final meeting to sign all the papers and are frustrated that this has not yet occurred and Mercers have been contacted several times during the year to ask when this will take place. Trustee insurance cover has ceased, although an arrangement has been agreed in 2010 with the Royal Opera House, English National Opera and Equity to provide continued support to the Trustees if necessary.

ix. Opera and Ballet Touring Allowances

There was a significant delay with the rates being revised with the Unions pressing the TMA/SOLT to update them once RPI started to rise steeply. In the end new rates were agreed from Monday September 26th 2011. These are to be increased quarterly with the first increase due on December 26th so that the linkage with RPI is maintained. The rates have increased currently in line with RPI and the rates as of Jan 2012 are as follows: Weekly rate £301.03 Single performance rate £50.34 Enhanced rates (plus 25%) for Aberdeen, Birmingham, Manchester, Glasgow, Leeds, Liverpool and Sunderland: Weekly rate £376.26 Single performance rate £62.98 And by 33% for London Weekly rate: £401.32 Single performance rate £67.16

x. English National Opera

a) Chorus Due to the reduction in Arts Council Subsidy in November 2010 the ENO proposed a pay freeze for the two year period from August 2010 until August 2012 and have also asked that the Chorus hours be increased from 27 to 30 for the period March 2011 to March 2012. The Chorus put forward a number of ideas for savings that could be made with the scheduling of rehearsals to avoid overtime and in return the ENO reduced the number of weeks for which they were requesting 30 hours of work. In June 2011 the ENO put forward a number of changes incorporating the Chorus suggestions but asking for a reduction to the rate paid to the Extra Chorus in return for a shorter call. They also put forward a three year pay claim with a freeze for 2010/11, a freeze from August

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2011/12, and an increase of 3.6% for 2012/13. The Chorus agreed that they would accept this offer provided that the ENO gave up the now truncated request for 15 weeks of 30 hours work in Spring 2012 and also the claim for a reduction of pay to the Extra Chorus. The Chorus also indicated that should the offer be improved to other Union groups then the higher rate would prevail. The ENO accepted this. The Chorus Deputies for 2011 were Geraint Hylton, Gloria Crane and David Dyer and thanks are recorded to them for their work on behalf of the Chorus, as well as the Committee. This year’s annual salary remained at £33,190.13 with a pension contribution of £5144.37. In November Deputy Elections were held and David Dyer was re-elected and was joined by Paul Napier Burrows and David Campbell. b) Extra Chorus The rate remained at £91.50 plus holiday pay from April 2010. Equity has asked for the four weeks’ notice of cancellation to be increased to twelve weeks. This has not been agreed. ENO agreed to remove their claim to introduce a shorter Music and production call of 2.5 hours for a reduced session rate. c) Stage Management Alex Hayesmore continued as the Deputy for the Stage Management team. Current rates remain as: Stage Manager: Deputy Stage Manager Assistant Stage Manager

£41,487.19 £38,052.24 £30,305.16

These will be increased by 3.6% in 2012/13 in line with the Chorus once this is agreed. d) Actors/Dancers Minimum rates of pay, in line with all other groups, have been frozen at 2010 levels as follows: Actors £317.37 Dancers £327.72 Holiday pay is paid additionally as a separate item. If a recording takes place for broadcast in line with the media deal for the Chorus and Stage Management a further payment is made equal to 1.25 times the basic salary.

xi. Glyndebourne

a) Chorus As a result of negotiations with Glyndebourne during 2010, a permanent seasonal chorus agreement was entered into for those entering into a fifth year of continuous employment in 2011. The rate of pay for 2011 had been agreed at the end of 2010 with a 4.6% increase to apply. For the first time a Chorus Committee was created to support the work of the Deputies and a claim was made to replace the travel payment for the seasonal permanent employees by an enhanced consolidated salary. Glyndebourne were sympathetic to the arguments the choristers put forward regarding limitations to public transport for those living in Sussex and accepted that the most affordable accommodation is situated away from public transport links. However they preferred to increase their offer on basic salary from 4.6% to 5.6% to be implemented from 1 January 2012. This was accepted by the Chorus and the 2012 salary was set at £420 plus the usual travel payments capped at the London/Lewes weekly rail card. Thanks are recorded to Anthony Osborne, Jacqueline Parker who remained as Deputies and to the Committee members David Butt Philip, Neil Williams, Stella Woodman, Richard Monk and Rachel Taylor for their help in negotiations. The minimum salary for the Chorus in 2011 was £397. b) Extra Chorus The session rate remained in line with the Chorus to £88.60. c) Stage Management The Stage Management group suffered the imposition of a pay freeze for 2010 and therefore salaries remained

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the same. Those who had been working the previous year received a cash bonus of £337. Negotiations continued around reducing the hours of work from 41 to 39 but it was agreed that rates would increase for 2011 by 4.7% but that the hours would remain at 41 for the foreseeable future: Deputy Stage Manager Assistant Stage Manager Stage Management Dress

£403.21 £342.09 £ 14.21

Appearance in costume rate was agreed for £23.92 per performance and £35.88 for Directed Appearances. Stage Managers entering a fifth year of employment are now Seasonal Permanent employees. Thanks are recorded to Benjamin Lynch for acting as Deputy on behalf of the Group. d) Actors and Dancers The non-speaking Actor rate increased to £315 The Dancers rate was increased to £410

xii. Opera North

Chorus pay was frozen in 2011 in the light of substantial funding cuts from ACE and the local authorities. A 3% increase had been due as part of the 2007 agreement and at the time of writing, ON has indicated that there will be a pay increase in 2012. Stage Management salaries (as well as those for all employees at Opera North) were also frozen in 2011 after the £400 one-off payment in December 2010. It is likely that there will be an increase in Stage Management rates from August 2012. Hazel Croft and long-serving Stephen Briggs continued as Chorus Deputies. Lindsey Owen continued as deputy for Stage Management. Membership levels remain at or very close to 100% among the permanent chorus. Rates – chorus 1 April 2010 Salary Vocal Maintenance Level 1 £22,403 p.a. £889.00 Level 2 £24,463 p.a. £889.00 Level 3 £26,780 p.a. £889.00 Rates (2009 -2011) - Stage Management Position Weekly Rate Per Annum Technical Manager (Head of Stage Management) negotiable negotiable Stage Manager £540.25 £28092.75 Deputy Stage Manager £495.55 £25,768.79 Assistant Stage Manager £444.66 £23,122.39 Temporary Stage Manager £512.11 £26.629.50 Temporary Deputy Stage Manager £463.72 £24113.25 Temporary Assistant Stage Manager £401.65 £20,885.72

xiii. Royal Opera House

a) General Although the Royal Opera House was stable financially, they were subject to the Arts Council cut of 0.5% of the 2010/11 grant and have a further cut of 6.9% to the 11/12 grant. The grant for 12/13 has been cut by 4.3% and then there is a 2.3% increase for 13/14 season and a 2.5% increase for 14/15. Each Department has been asked to look at making savings and working in more cost effective ways. b) Chorus The Chorus size remains at 48 and is working well with the additional permanent posts. Given the financial position the Management offered a three year deal from 2011/12 equal to 3% although this offer ignored the fact that the Chorus had been on a pay freeze for the 2010/11 seasons. This offer was only made to permanent groups with the Extra Chorus/Actors and Dancers in Opera excluded. This offer was turned down. The ROH responded by making a one year offer only and withdrew the three year offer which was effectively to offer 1.3% for 2011/12 but again only for permanent groups and a non consolidated sum of £200 in recognition of the pay freeze in 2010/11. This offer was reduced to 1% if all groups were included. After consultation the Chorus

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counter proposed a 1.5% offer to all Equity groups including freelancers together with a £250 consolidated lump sum for permanent staff. This was agreed by the Opera House and the pay and back pay was implemented in December. Thanks are recorded to John Mulroy for continuing as Equity Deputy and to the Chorus Committee. The annual salary for the Chorus from September 2011 is £37, 776.52 plus £3,213.84 media supplement. Negotiations have now commenced for a new Media Agreement to commence September 2012 c) Extra Chorus Given that the rates for the Extra Chorus are tied in with the Chorus rate there was no increase from September 2010. The Deputy for the Extra Chorus renewed efforts with the new Director Kaspar Holton and presented a paper to him to see whether additional music calls could be given to the Extra Chorus who, in relation to the Chorus, receive far less time to learn the music. In summary a request was made to have six rehearsals rather than the current norm of five. The Extra Chorus received no increase for the period up until 1 September 2011 when the rate was increased by 1.5% following the Chorus negotiations. Rehearsal Session Opera Performance Session 1st Night Performance

£113.14 £135.75 £158.38

Concert rates are as follows: Concert day payment £151.45 Rehearsal rate £75.72 Thanks are recorded to Bryn Evans as Chair of the Extra Chorus Deputies. c) Stage Management Although an RPI increase has been claimed from 1st September 2010 pay was effectively frozen until September 2011. Rates include the payment for media. Early in the year the Stage Managers rejected the Managers’ request to staff evening rehearsals and continued to do so, despite a repeated request from the new Technical Director, Stefano Pace to include a maximum of 12 per season for £117 per rehearsal. In line with the Chorus and Ballet the Stage Managers agreed to a lump sum of £250 and an increase of 1.5% from September 2011. Rates are as follows: Senior Stage Manager Stage Manager Deputy Stage Manager Assistant Stage Manager

£49,279.91 £45,128.11 £38,948.59 £32,883.08

Thanks are recorded to the Deputies Lynne Otto and Adam Lawley for all their work on behalf of the Stage Management. d) Actors and Dancers The actors and dancers were subject to a pay freeze in line with the rest of the House and the Management made financial offers that excluded them. The other Equity groups argued that they should be covered by an increase given they were some of the lowest rates in the House. This was finally agreed and the rates were subject to a 1.5% increase from September 2011 s as follows: £344.81 Minimum dance fee £24.73 The increase also applied to the Actors in the Royal Ballet Actors in Ballet: Rehearsal £60 Performance £60 per three hour session Separate Agreements apply for the recording for television or DVD purposes.

xiv. Opera Deputies Committee

The Committee held two quorate meetings in 2011 given the difficulties of arranging times when Deputies could meet. Meetings were held in March and November. Bryn Evans remained Chair and Julia Carson Sims Vice -Chair. Both Opera North and Welsh National Opera were able to attend, but unfortunately due to touring Glyndebourne were not able to attend although now they have a permanent seasonal chorus they are invited. The Deputies

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discussed developments in their own Houses and also the arrangements that applied for obtaining N/A’s in the various Houses.

H BALLET AND DANCE

A claim was made in December 2010 for 5% as RPI was 4.7% and climbing. SOLT/TMA did not address this claim as they were involved in their various House Agreements so at the time of writing the report no final offer had been made so the April 2010 minimum rate remains current at £347, although no dancer is in receipt of this as all the House Agreement rates are higher.

i. Dancer’s Pension Scheme

The Trustees continued to meet to review the management and development of the Scheme and received reports on investments. The Equity Trustees (Directors) are Andrew Hurst, David Pickering, Royal Ballet and Tamarin Stott, English National Ballet, although Andrew came to the end of his term during the year. Jonathan Goddard of Rambert was appointed as Trustee in his place with the Head of the Live Performance Department attending as an Observer. Christopher Nourse remained Chair of the Scheme. The Scheme Administers are Xafinity. There are 1,213 members of the Scheme, with 242 contributing members. The Scheme is doing well, although given the background of economic uncertainty the Trustees agreed a 4.5% Bonus for 2010/11 but with a prudent nil interim bonus for 2011/12. An additional meeting of Trustees was scheduled in December to look at the Scheme investments and take further advice given the volatility of the markets

ii. Dancer’s Career Development

Dancer’s Career Development consists of the Dance Companies Resettlement Fund and the Dancer’s Trust. The Dance Companies provide the Fund with its resources through their Arts Council Grant by each contributing an annual sum equivalent to five per cent of their annual dancer’s salary bill. The Dancer’s Trust is intended to help dancers who do not qualify for money under the Dance Companies Resettlement Fund and support many dancers who have been employed in the commercial and independent sectors. On an international level the DCD is a founder member of the International Organisation for the Transition of Professional Dancers. The Head of the Live Performance Department remained on the Board on behalf of Equity together with Paul Mead from the Equity Council. An approach has been made by the Participating Companies indicating that they would like to be directly informed of the work of the DCD rather than it being reported by the Directors who were Board members of the various companies They want greater and better access to the work of the DCD as well as more transparency in terms of the awards granted to dancers. They have also suggested that they reduce their contribution level from 5% to 2.5% for the next two financial years. It was agreed that a Code of Conduct should be agreed between the contributing companies and the DCD that the companies should receive an edited Directors report and a list of all the funded dancers who have been awarded grants would be sent to the Chief Executives. The DCD Board agreed to the request from the Companies to reduce their grant to 2.5% for one year only and to replace this contribution from the Funds reserves. The Board also commissioned consultants to undertake a review of the work of DCD, and although it found that overall the service given to dancers was a good service and met dancers’ needs, the fund was run in an old fashioned way and needed reviewing to ensure that the Companies felt that it represented value for money. However the Report made some flawed assumptions regarding the willingness of the Companies to continue funding at the present levels in the future. Accordingly a Sub Committee has been set up to review the work of DCD, to make sure it is achieving its core objectives, whilst modernising its procedures and structure.

iii. English National Ballet

a) Dancers There remained problems with the aspiration of the dancers on pay, given raising inflation and ENB’s inability to deliver a reasonable pay increase in relation to rising RPI. It had been made clear by the Arts Council that there was no intention to increase funding once the three year period of funding ended and that the 15% cut would not be made good. Extensive discussions commenced in May, and the Deputies and Committee met with the Finance Director to go through the Company Accounts and to answer detailed questions. Given this information and circumstances, combined with an additional commitment for an additional holiday in Easter the following year and a number of free Saturdays identified, the dancers agreed to a further 1% pay increase. Craig Hassall, the Executive Director, left the company at the end of 2011. The Dancers’ Committee met with management on three occasions and spent much time discussing the scheduling of rehearsals to ensure that there was sufficient rehearsal for all casts rather than just the 1st cast. Other subjects discussed included casting, pointe shoes, choreographic workshops, learning by use of videos,

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communication and health and safety. Thanks are recorded to the Deputies, Amber Hunt and Daniel Kraus as well as to the outgoing Deputy James Forbat and all the Committee members for their work on behalf of the Dancers. Salaries were increased as follows from April 2011 The rates from April 2011 are as follows: Principal £44,486.08 First Soloist £38,503.92 Soloist £34,482.76 Junior Soloist £31,234.84 First Artist £30,704.44 Artist Yr 8 £28,939.57 Artist Yr 7 £28,674.88 Artist Yr 6 £28,409.68 Artist Yr 5 £28,187.12 Artist Yr 4 £26,949.00 Artist Yr 3 £25,754.56 Artist Yr 2 £24,860.16 Artist Yr 1 £23,098.40 b) Stage Management Salaries increased by 1% from April: Stage Manager £35,703.60 One of the Stage Managers left the Company and has not been replaced, with the Deputy Stage Manager taking over as Stage Manager and employing freelance stage management as necessary. Weekly rates for ASM’s as follows: ASM £494.90 plus £11.98 holiday pay The Stage Manager Kerry Lewis is also the Equity Deputy.

iv. Northern Ballet Theatre

The year 2011 saw NB fully settling into their purpose-built new building on the Quarry Hill arts campus. It is a marvellous building with facilities far out-stripping anything experienced at West Park, but it is a shame and a waste that its full potential, is unlikely to be reached at present given the savage funding cuts for 2012-15 which has seen the loss of three dancers (ie from 40 to 37). And 2011 saw a freeze in pay for dancers and Stage Management against this background, although there were small increases for some middle and upper range dancers arising from the re-positioning of soloist grades. Once again 2011 saw a number of changes amongst the dancers with departures and newcomers, all of whom joined the union. This is in no small part due to the work of deputies Toby Batley (to June 30th 2011), Victoria Sibson (to October 31st 2011) and Hannah Bateman who has stepped in for a second spell as deputy with effect from 1 July 2011. In June the General Secretary of the TUC, Brendan Barber, together with the Secretary of the Yorkshire and Humber TUC, visited NB, talking at length to the Equity deputies and NB Chief Executive Mark Skipper about the reality of living with funding cuts and its effect on employment. Although there was a prominent piece in the Yorkshire Post it was disappointing that there was no over media coverage. Northern Ballet has continued a heavy touring schedule throughout the year, but without overseas dates in 2011. Rates (2010-12) 1st year corps 2nd year corps 3rd year corps 4th year corps 5th year corps Coryphee Soloist First Soloist Senior artist Premier Artist Principal rates

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£353.10 £389.01 £412.04 £440.45 £464.56 £487.30 £517.27 £551.89 £589.40 £596.80 negotiable and generally not currently in use Rates (2010-12) -

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32 stage management ASM DSM SM CSM

ANNUAL REPORT 2011 £20147 + £30.00 per day in production weeks £23460 £25755 £30000

v. Rambert Dance Company

Jonathan Goddard and Malgorzata Dzierzon were elected as Deputies. As the Arts Council grant had been substantially cut, Rambert were unable to offer a pay increase. However they did agree to offer the dancers an additional week’s holiday at Christmas as compensation together with increases to subsistence and clothing allowance payments. Pay rates from April remained as follows: Apprentice Year One £18,463.81 Apprentice Year Two £19,291.00 Dancer £25,804.49 Dancer after 4 years £29,113.25

vi. Royal Ballet

Sarah Lamb and Ryoichi Hirano were elected as Equity Deputies for the company. A claim equal to the July RPI increase to salaries to commence 1st September 2010 had been submitted. Due to the reduction in Arts Council Grant of 0.5%, with a further reduction of grant for 11/12 of 6.9%, the Opera House responded with a 0% offer. This was rejected by the dancers who asked the ROH to make an improved offer. Given the financial position the Management offered a three year deal from 2011/12 equal to 3% although this offer ignored the fact that the Dancers had been on a pay freeze for the 2010/11 seasons. This offer was only made to permanent groups with the Extra Chorus/Actors and Dancers in Opera excluded. This offer was turned down. The ROH responded by making a one year offer only and withdrew the three year offer which was effectively to offer 1.3% for 2011/12 but again only for permanent groups and a non consolidated sum of £200 in recognition of the pay freeze in 2010/11. This offer was reduced to 1% if all groups were included. After consultation the Dances counter proposed a 1.5% offer to all Equity groups including freelancers together with a £250 consolidated lump sum for permanent staff. This was agreed by the Opera House and the pay and back pay was implemented in December. Current rates from September 2011 are as follows: Character Principal £48,434.28 First Soloist £48,434.28 Soloist £40,361.64 First Artist £34,151.64 (plus seniority upgrades to £35,455.68) 5th Year Artist £31,069.20 (plus seniority upgrades to £31,978.32) 4th Year Artist £29,868.72 3rd Year Artist £28,669.44 2nd Year Artist £27,468.84 1st Year Artist £25,669.32 The Dancers receive an annual media payment of £3213.84.

vii. New Adventures/Equity Agreement for Performers and Stage Managers

A new three year agreement had been negotiated with New Adventures from 1st October 2010 until 30th September 2013. The rates are increased each year by RPI subject to a cap of 2.5% and were increased in October 2011 as follows. Nutcracker toured from 31st October 2011, coming to Sadlers Wells over Christmas. A programme was made for Channel 4 on the work on Mathew Bourne which included sections of all of his work and which was broadcast on Christmas Day. Salary rates are as follows: Rehearsal salary Performance salary for first contract Performance salary for dancers previously Employed but new to production For those returning to Production Performance fee (principal)

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£415 £477 £516 £55.50 £42.13

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Performance fee (sub) UK touring allowance

£31.67 £224.20

viii. Scottish Ballet

Following the surprise decision not to renew Ashley Page’s contract as Artistic Director last year, the company appointed Christopher Hampson as his successor, taking up his post in August 2012. A graduate of the Royal Ballet School, Christopher danced professionally with English National Ballet before retiring to pursue a career as a choreographer and director. He has worked with many companies all over the world and his impressive career to date has seen him win many accolades. Although the decision not to renew Ashley Page’s contract shocked many of the dancers (and worried them because they had built up an important working relationship with him) the company consulted and involved the dancers in the recruitment process which offered reassurance about the process of change. Principal: £36,083 Soloist: £31,677 Coryphee: £27,818 Artist: £26,580 Stage Manager: £27,000 Deputy Stage Manager: £22,656 Assistant Stage Manager: £17,000

ix. Backrow productions/Swan Lake

A new agreement was made with Backrow Productions from 1st September 2010 to continue until 31st August 2011. The Agreement was not renewed for a further period. The minimum salaries up until 31st of August were as follows: Rehearsal salary Minimum performance Salary Minimum returnees Minimum returnees 2 Performance payments Featured Principal

£384 £435 £461 £486 £41 £82

x. Euro/Fia Dance Passport No passports were issued during 2011.

I. VARIETY AND CIRCUS i. General

Anecdotally this was another year of mixed fortunes for variety and circus performers in terms of work levels. Cuts to local authority budgets have had the knock on effect of reducing work in schools, libraries, arts centres and local festivals and events. Also, with the continuing recession, bookings from members of the public and from the corporate sector have shown a fall. The picture from the working men’s club sector did not improve with many clubs continuing to find operating conditions difficult and some cutting back on professional entertainment either by reducing quantity, quality, or stopping it altogether. On the upside, traditional and contemporary circus has continued to be a popular art form as are comedy events and burlesque shows. The cruise industry appears to be expanding and to be an increasing employer of entertainers and the holiday and theme park sector also relies heavily on providing entertainment for guests. The Variety Organising Team was established in 2011 on a longer term footing following the Council and Variety Advisory Committee elections having been set up on a temporary basis in 2010. It met a number of times in 2011 to look at ways of addressing the problems in variety. To date it has concentrated on campaigns to promote the benefits of engaging Equity members to clubs in particular and to educate members about agents. It has also supported campaigns on minimum alcohol prices in supermarkets and against the ‘beer duty escalator’ both of which were a bar to people going out. Along with the Musicians’ Union, Equity has continued to push the coalition government to support Lord Clement Jones’s Live Music Bill calling for live music in venues of less than 200 capacity to be exempt from licensing. At the end of 2011 this looked very near to realisation. Equity has also been supporting government proposals to remove

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other forms of entertainment which are ‘low risk’ from the definition of ‘regulated entertainment’ under the Licensing Act 2003. This would be for venues of up to 5,000 capacity and this also progressed well. Such a change, along with others proposed under the Policing Reform and Social Responsibility Bill to Temporary Events Notices, should have the effect of easing the licensing burden on circuses when implemented. In London some Equity variety members joined actors and the Musicians’ Union to campaign against Westminster Council’s proposal to introduce a harsh parking regime in the borough. If implemented this would have had a disproportionate impact on entertainment staff who needed to drive to bring in their equipment and who work until after regular public transport finishes. The plan was suspended at the end of 2011 until after the Olympics and pending the outcome of a judicial review. Equity members involved in entertaining the forces participated in the annual Remembrance Parade at the Cenotaph in November. Marion Konyot who had led Equity’s contingent on a number of occasions had sadly passed away earlier in the year and her presence was missed.

ii. Membership

Equity’s membership increased during 2011 ending with the highest number of members in benefit ever. The total number of in benefit members registered on Variety Branches also showed an increase over the previous year. New membership in the variety sector was also up on the previous two years with circus in particular showing a significant rise. Equity’s public liability insurance is a key reason why freelance variety and circus performers choose to join the union as such insurance has become mandatory for a high proportion of work. Equity’s legal and advice services and the accident and backstage cover are also highly valued. The network of Variety Branches, where members can meet their fellow professionals and obtain support and advice, also keep members informed and involved in the union. Equity’s organising and dedicated recruitment staff supplemented by the work of the Variety Branches helped maintain Equity’s profile with practitioners and employers. Aside from longer term work, such as in holiday sector, performers in this field are predominantly booked for one-off engagements on an ‘Act as Known’ basis and work individually or in small groups. This leads recruitment activity to be targeted towards national festivals and events attracting professional performers in significant numbers. Examples of some of those attended in 2011 are: the Blackpool Magicians’ Club Convention and the International Brotherhood of Magicians in Southport, the Leicester Comedy Festival and Chortle Seminar for comedy, the Clowns International Festival in Bognor Regis, the May Fayre in Covent Garden for Punch and Judy, the Winchester Hatfair and Gi20 event in London for street arts, the Brighton, Glastonbury and Edinburgh Festivals, Kidology in Wolverhampton for children’s entertainers, UK Professional Pole Championships in Birmingham, Keeping it Live! in Coventry for cabaret acts, the RSVP Event in London for corporate event organisation, Erotica for burlesque and exotic dance, the Move It! dance event in London, the Funny Festival at the Comedy School in London. Also visited were full time education courses and showcases in the variety and circus sector. Equity Organisers with variety responsibilities also visit key workplaces in the variety and circus field which include variety productions in theatres, comedy clubs, circuses, theme parks and visitor attractions, working men’s clubs and auditions for cruise and overseas work. Thanks go out once again to Equity’s variety branch officers and members who, on a voluntary basis, undertook their own initiatives in recruitment and retention or assisted with staff led activities.

iii. Branches

Equity has a network of Variety Branches throughout the UK and members working in the variety and circus field are encouraged to attend meetings either where they live or work. Branches hold at least four meetings per year with many branches having an established monthly meeting pattern (eg first Monday) with breaks in the summer and Christmas periods. They also hold an Annual General Meeting and elect new officers and a committee. Elections may be biennial if the branch decides. Branches have a dedicated space to advertise their meetings in the Equity Magazine, and also do so through branch newsletters and their own branch websites which are found through Equity’s main website. The content and social programme of branches is largely left to the branches to decide but typically they will arrange guest speakers from the industry, inform the members of wider news affecting the industry and from within the union and provide a forum for members to discuss concerns about their work. There may also be showcasing and professional training opportunities provided and the chance to network with fellow professionals. Branches are part of the democratic structure of the union and are entitled to put a motions and amendments to the Annual Representative Conference and to send representatives. Some Branch Secretaries are able to provide contractual advice and assistance to members when Equity staff may be unavailable and may also receive job information from local employers which they can pass onto members. Regular meetings of Variety Branch Secretaries were held during the year which included staff so that matters

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of concern raised at branch level could be brought to the union’s attention and newer secretaries also have the opportunity to learn from those with more experience. Building on the previous year’s ‘Running a Successful Branch’ training session another dedicated session on recruitment was held with the Variety Branch Secretaries and those in the branches interested in taking on the role of a Recruitment Co-ordinator. This will be continued into 2012 with Recruitment Co-ordinator assisting in formulating a recruitment plan for the year. Another session was also held on branch communications such as newsletters. Some variety branches have developed new branch websites using Equity’s new website which went live in April 2011, along with the new membership database, which will make communication with branch members easier and more effective. Following the closure of the Sussex and District Variety Branch in 2010 all members were transferred to the Wessex Variety Branch. This expanded branch held various open meetings throughout its area this year and will decide on good places to hold future meetings. It is also likely to be renamed to reflect the area covered. The Manchester & District Variety Branch undertook an initiative in its area to promote entertainment using live musicians. This has resulted in the rejuvenation of some venues and the reopening of the Embassy Club. It has been discussed whether similar initiatives could work in other areas. Tributes were paid to Jackie Provis, the longstanding Branch Secretary of North & West Yorkshire Variety Branch who passed away in May and the former Branch Secretary of Birmingham, Len Edwards, who passed away in March. Variety Branch Secretaries are also automatically part of the Variety Advisory Committee through which they can contribute to union policy. A list of Variety Branch Chairs and Branch Secretaries can be found in the Appendix.

iv. Variety Advisory Committee

The Committee comprises 12 elected members, the 17 Variety Branch Secretaries, the 6 Variety, Light Entertainment and Circus Councillors and members elected by the Executive Committee of the Variety Artistes’ Federation. The purpose of the Committee is to advise the Council on Variety matters. Following the election of the 12 members in 2010 the election for Chair and two Vice Chairs resulted in a tie for the Chair position so it was agreed that Geremy Phillips and Sally Treble would hold the position for one year each. Chris Barltrop was elected as the other Vice Chair for the two years. A list of the elected members together with other components of the Committee can be found in the Appendix. The Committee met six times during the year with some key topics being: entertainment licensing changes; the Policing and Crime Act; the ‘beer duty escalator’; the Vetting and Barring Scheme; performing animals in circus; the PPL consultation; Westminster parking regulations and the agreements in Recorded Media. New elections for the Variety Organising Team were held and a team established for a longer term. A small working group was also set up to look at issues in Burlesque performance which resulted in contracts being drafted which the VAC approved at the end of the year. The VAC sent two representatives to this year’s Annual Representative Conference in London although many from the VAC attended in other capacities ie. as Councillors or as representatives of their Branches. The VAC’s motion calling for the union to investigate again providing insurance cover for HMRC inspections was carried by a two thirds majority.

v. Variety and Light Entertainment Council

This body comprises Equity, the Musicians’ Union, the Agents’ Association and representatives of management bodies. The other member organisations are as follows: Association of Circus Proprietors, Institute for Sport, Parks and Leisure, Licensees Unite, Society of London Theatre and the Theatrical Management Association (TMA). Other venues and managements, not members of one of these organisations can become registered members entitling them to use the contracts and disputes procedures. The Joint Secretaries of the VLEC are Kenneth Earle of the Agents’ Association and Christine Payne of Equity. They are responsible for the general administration of the Council and the day-to-day running of the organisation. Meetings rotate between the offices of Equity, the Musicians’ Union, the Agents’ Association and the TMA with the chairmanship alternating between the Joint Secretaries. Equity is represented at meetings by its elected Variety, Light Entertainment and Circus councillors. Three meetings of the Council were held during 2011.

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The principal function of the VLEC is to ensure good practice in the variety and light entertainment industry, to ensure the appropriate contract is used for every engagement and to assist in the resolution of disputes either formally or informally. There were no formal dispute hearings in 2011. Some issues discussed at the meetings during the year included: the VLEC ‘Act as Known’ and Floorshow contracts; agency regulations and net and split deals; the Policing and Crime Act; entertainment licensing and the consultation on Temporary Events Notices; the PPL consultation; tax and national insurance in theatre; The VLEC as a joint industry body also has a role on Equity’s registration panel for the stage hypnotist public liability insurance scheme.

vi. VLEC Contracts

There were no changes made to the terms and conditions of the VLEC contracts this year although the rates were revised where appropriate. (a) VLEC Act As Known Contract This contract is still considered to be the benchmark for booking acts particularly for one-off performances or short runs. The contracts are available in both printed duplicate form in electronic format. Legal advice was being considered about the wording above where the contract is signed. This is to ensure that in the eventuality where the booking is made verbally, but the contract not physically signed, it would stand up legally. (b) VLEC Floorshow Contract This year, an increase to the rates of exactly the rate of inflation (RPI) published in November 2010 of 5.6% was agreed on all financial items except the subsistence and touring allowance, which increased in line with Theatrical Management Association theatre contracts. These rates are in place from 1st November 2011 to 31st October 2012. The new rates, including this latest increase, are as follows:Once Nightly (up to 8 performances a week) Twice Nightly (up to 12 performances a week) Subsistence (first 10 weeks) Touring Allowance

£376.00 per week £404.00 per week £105.00 per week £197.00 per week

Understudy Payment (per week) Understudy Payment Lead Role (per performance) Understudy Payment Other Role (per performance) Understudy Payment Ceiling

£34.80 £42.90 £25.30 £81.50

Photocalls Public Holiday Performances Illness Payment Ceiling

£25.90 £63.40 £63.40

(c) Standard Overseas Contract A contract for overseas entertainment work, predominantly dance is available to Agents’ Association and VLEC registered members to use. EuroFIA also promulgates the clauses of this contract as model clauses for other European unions and employers to use in their contracts for dance. These clauses are also available on Equity’s website as guidance for members working overseas. Equity continues to operate an advisory service for dancers who work abroad and urges members to check their contract with Equity before agreeing to work overseas. Equity maintains a database of overseas managements and agents, where matters have been brought to Equity’s attention so that the union is then able to advise members. Contact details of overseas performing unions is also made available to performers working on overseas contracts so that they are able to get assistance overseas in an emergency and know what other facilities may be available to them. (d) Choreographers’ Contract The current agreement for the engagement of Choreographers by employers such as in Cruises, Theme Parks, Cabaret Floorshows, Trade Shows is in place until January 2013 and allows for the rates to increase by RPI + 1% in January each year. RPI for December 2011 was 4.8% so a rate increase of 5.8% was implemented. The minimum fees which include the preparation (including up to 3 days for the purposes of casting, auditioning

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and pre-production meetings) and up to 3 weeks’ rehearsal including attendance at the technical dress rehearsal and the first night if mutually agreed, are as follows: Cruise Ship Holiday Camp / Theme Park Floorshow

2011 From 2nd January 2012 £2,861 £3,027 £2,145 £2,269 £2,145 £2,269

For any work in excess of the 3 weeks an additional fee of not less than £715 (£756 from 2nd January 2012) per week or part thereof will be paid. Daily Rate £216 (£229 from 2nd January 2012) (e) Circus Contract This contract, established in 2002, for the booking of individual acts and troupes continues to be used by members of the Association of Circus Proprietors. It does not contain any minimum rates and uses the same VLEC disputes procedure as the other VLEC contracts. There were no formal disputes on this contract during the year.

vii. Claims

Part of the membership package is legal protection for members’ work and this is particularly important in the variety field where many contracts are of a short term nature. As well as that, many bookings are made by hirers who are not normally in the entertainment business, such as private individuals or for corporate, with or without the use of an agent. Often documentation is informal, by email, text message or through social networking sites such as Facebook, or completely nonexistent if the booking is made by phone. There are two contracts available to members on which to accept bookings which are the Variety and Light Entertainment Council ‘Act as Known’ contract which is recommended for the more substantial bookings and the National Standard Contract for the smaller private bookings and for those in pubs and clubs. A high proportion of issues arising from one off bookings tend to be cancellations and late or non payments. These claims are ultimately dealt with through the County Court as a breach of contract under contract law and most are below the small claims limit. An Equity Regional / National Organiser or the legal claims referrals officer will prepare all the court paperwork, accompany the member to the hearing and deal with enforcement of judgments. Many claims, however, are settled in correspondence by the Equity Organiser responsible for the area before they get that far. Early in 2011 there were a number of claims arising from the bad weather at the end of 2010. Unfortunately many of these cancellations would have been deemed ‘force majeure’ and could not be pursued legally. Work in holiday camps, theme parks, visitor attractions and the like tends to be longer term on fixed term contracts. The issues arising here are likely to be different in nature and may involve organising if a group of members are affected or accompaniment at disciplinary or grievance hearings in individual cases. Claims may arise from dismissal or non payment of holiday pay or national minimum wage and can be actioned through the Employment Tribunal. As well as these issues Equity also frequently advised on copyright matters. There is a guide available to be downloaded from Equity’s website on this complex area. Even in the cases where a member’s copyright has clearly been breached remedies are not always available as those in breach may be in a country not signed up to the international treaties. Members also have to be mindful not to breach others’ copyright such as when posting music online and in the use of names or artwork. The London Variety Organiser and the seven National and Regional Organisers around the UK recovered £134,784 on behalf of members during the year. A further amount was recovered via our network of regional solicitors on behalf of members. This does not include personal injury claims which are dealt with via our specialist solicitors.

viii. Children’s Entertainers

Children’s entertainers make up a large and vibrant part of the union now numbering over 1500, an increase of over 100 on the previous year. An open meeting of children’s entertainers was held in London in November which was well attended and generated a lively discussion. A principal concern was the reduction of work both privately and through schools and local authorities. There was some optimism about the government’s announcement on Criminal Records Bureau checks and that they will hopefully be unnecessary for most members in the fairly near future. Information was exchanged between members about good places to advertise their services and about dealing with difficult situations, either with the adults or children.

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ix. Circus Artists

The Circus Contract negotiated between Equity and the Association of Circus Proprietors (ACP) continued to be maintained by the VLEC and used by ACP members which make up the major employers within the commercial tented circus field. There were no disputes, formal or otherwise, raised under it during 2011. Discussion commenced about a possible change to the disputes clause which will continue in 2012. Equity’s changes to the membership system to end the Visiting Artist category which had allowed troupes to join as an entity, like a ‘unit company’, went ahead. This resulted in an increase in the number of circus performers joining as all joined as individuals. Recruitment of circus performers was particularly positive in 2011. A further consultation on Tier 5 of the points based work permit system was undertaken by the UK Border Agency in the latter part of 2011. This looked at the system which allowed the dependents of work permit holders to work while in the UK. The aim was to make changes to be implemented in April 2012. Changes to Temporary Events Notices (TEN) under the Police Reform and Social Responsibility Bill / Act, allowing an event to run for longer than previously, should also be in place in time for the 2012 circus season. This should benefit predominantly smaller circuses. The Circus Development Agency, formerly Circus Arts Forum, which is a registered charity with Equity on the board and a trustee of the organisation continued in 2011. The aim of the body is to provide an information support network and advocacy body for the circus industry, largely through its website and occasional conferences and meetings. It received a small amount of funding in 2011 to partner a European project named CASCAS. This was a touring event in UK and Republic of Ireland, Belgium, Finland and Sweden.

x. Stage Hypnotists

The public liability insurance for Stage Hypnotists, which is subsidised by Equity had a further small reduction in the premium in 2011. The panel for the endorsement of applicants onto the insurance scheme continues to be in place and to use the services of the Variety and Light Entertainment Council. An open meeting of stage hypnotists was held in October 2011, the first since 2003. The meeting discussed insurance, licensing and street hypnosis amongst other things relevant to hypnotists.

xi. Street Performers

The agreement for the engagement of street performers by ‘Approved Managers’ of the Independent Theatre Council (ITC) was maintained at the same minimum rates applying to Actors and Stage Management. There are now over 400 members who have taken up the public liability insurance top up available for fire performers and clown cars and is mainly for street performance. There was no increase in premium in 2011 and it still represents excellent value.

xii. Pole Dance Performers and Teachers

The Equity Pole Dancers’ Working Party, established in 2007, held regular meetings throughout 2011. Working party members organised an event at Riverside Studios in London for UK Pole Dance Day in 2011. This was successful and highlighted in the Equity Magazine. Equity continued to recruit new members from this field through presence at events by staff and working party members and through websites and social media.

xiii. Social, Working Men’s and Other Clubs

Equity staff continued liaison with General Secretary and Assistant General Secretary of the Working Men’s Club Institute Union (WMCIU) and attended a Parliamentary Reception with them to highlight the problems that clubs face. Equity is awaiting the outcome of some changes to their management and aims to continue to work with them on issues of joint concern. The contract between Equity and Committee of Registered Clubs Association (CORCA) has been in place for a number of years and can be issued by the constituent bodies of CORCA for artists who perform in their clubs. CORCA is administrated by the WMCIU and also comprises the Royal British Legion, the National Association of Labour Clubs, the National Association of Liberal Clubs, the Association of Conservative Clubs, the Royal Naval Association and the Royal Air Force Clubs.

xiv. Holiday Centres, Theme Parks and Visitor Attractions

This is a large and important sector providing a considerable amount of work for Equity members. The larger holiday centres engage both a resident team and visiting cabaret acts such as vocalists, comedians and speciality acts. There are also costume characters, children’s entertainers, puppeteers, along with street and circus performers. Resident team work can be a good way of honing entertainment skills and many established entertainers have come through that route. Pontin’s, which was in administration at the start of 2011, was bought by Britania Hotels early in the year. The deal unfortunately didn’t include picking up the previous company’s debts such as payments of artists’ fees or cancellations. Theme parks, visitor attractions and heritage sites are also a substantial part of the leisure sector engaging a large number of Equity members to animate their sites.

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Equity’s organising and recruitment staff regularly visit many of these key sites and maintain long-standing relationships with the major holiday groups.

xv. Licensing Act

Equity, along with fellow unions and UK Music continued its support throughout the year of the two main initiatives to reduce the licensing burden from entertainment. The first was the Private Member’s Bill from Lord Clement-Jones calling for an exemption for small venues with a capacity of 200 or fewer called the Live Music Bill. The second was the move through John Penrose MP, the minister for Heritage and Tourism at the Department of Culture, Media and Sport, to remove ‘regulated entertainment’ from the Licensing Act 2003 altogether. Substantial progress was made on both fronts during the year and it was hoped that early in 2012 they would become reality.

xvi. Vetting and Barring Scheme

In February 2011 the government announced the result of its review into the future role of the Independent Safeguarding Authority and the Vetting and Barring Scheme. Their intention was to put in place a system for protection of children or vulnerable adults that was proportionate. They key recommendation for Equity members was that only those in very close and regular contact with children or vulnerable adults would be required to register. This should exclude many of those entertainers working fairly regularly in schools and for local authorities. At the end of 2011 the system had not been finalised but will be progressed as part of the Protection of Freedoms Bill which should receive Royal Assent early in 2012. The equivalent system in Scotland named Protecting Vulnerable Groups did proceed in 2011.

xvii. Policing and Crime Act 2009

Despite a strenuous local campaign and strong opposition shown in their consultation Hackney Council did proceed with its nil policy on ‘sexual entertainment venues’ in the borough. They did not, however, force any of the existing venues to close but this situation will be monitored. Several other councils around the country also consulted on adoption of this form of licensing and Equity input into them when the information was received. This included Wycombe, Tower Hamlets, Hammersmith and Fulham, Southend, Plymouth and Coventry. There has not as yet been any negative effects of the legislation reported to Equity.

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CHAPTER 3:

RECORDED MEDIA A. CINEMA FILMS

In 2011 there were 47 full budget films and 24 films made with budgets under £3 million. 31 films were made under Option A and 11 made under Option B. 66 films were made by PACT members with 5 films made on our promulgated cinema agreement. One film was made under Option Z for productions mostly made outside the UK. That’s a total of 72 films made in 2011, compared to 76 last year meaning there was a small dip in production. The Films Agreement isn’t scheduled to be re-negotiated until 2014 but in accordance with the agreement reached with PACT in 2010 the fees contained within the agreement will increase by 5% each year. During the year PACT tabled a proposal to Equity that the provisions within the agreement for low and very budget productions be made available to film producers who are working in the Irish Republic and who are in receipt of tax breaks under the 481 provisions of the appropriate tax regime. Equity endorsed the proposal subject to approval of Irish Equity. Irish Equity accepted the proposal and the final revision to the agreement will be ready early 2012. Following the abolition of the Films Council, Equity conducted an extensive survey amongst members who worked in film during the 3 years prior to the survey’s dissemination, around 200 members took part altogether. This contributed towards the Union’s submission to the government’s Film Policy Review and as part of the review process a party from the Union met with Lord Chris Smith and Lord Julian Fellowes. The full review has now been published. CINEMA RATES from 5 April 2011 to 4 April 2012.

Basic

+280%

Daily Rate

£110

£418

Weekly Rate

£440

£1672

£1207

£4587

£3622

£13764

Minimum Variation Rate

Overtime Variation Rate

Stunt Performer Daily

£463 inclusive

Stunt Performer Weekly

£1852 inclusive

Stunt Co-ordinator Daily

£589 inclusive

Stunt Co-ordinator Weekly

£2356 inclusive

Stunt Insurance daily Stunt Insurance weekly

£14 £28

ADR Session rate ADR Session rate Low Budget Film Holiday Pay (per day)

£243 £79

£12

B. TELEVISION i. Independent Television Production

a. Agreement for Main, Walk-on and Background Artists

With the collapse of the pan –industry discussions Equity’s default position was to commence negotiations with each entity separately which includes PACT, who are our negotiating partners for the above agreements. Discussions commenced with PACT early in 2011 but following re-structuring at PACT the process of negotiations stalled. Equity staff met with PACT officials to indentify a road map of negotiations and dates are now in the diary to meet PACT during 2012. During the latter part of 2011 the broadcasters indicated that they could identify ‘pillars of consensus’ between them and PACT such as repeats, video/DVD and new media platform exploitation and suggested at least one broad meeting be convened to identify whether discussions could continue on these

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‘pillars of consensus’. It is hoped a meeting early in 2012 will take place. The main items for discussion with PACT remain broadly the same as those in 2010. The main elements of the PACT TV to be renegotiated are the interpretation and application of the royalty agreement as it applies to video/DVD sale, incorporate provisions for the payment of new media exploitation e.g. download to own and video on demand/catch up services, repeats, the out of time escalator, revision to the walk-on/background Artists agreement along with enforcement issues surrounding this agreement, increase of the minimum rates within the agreement, introduction of a casting data report on all independent commissions which identifies gender, age and ethnicity etc, seeking a commitment for productions outside of the M25 of London, the wide spread use of special stipulations and a revision to the pension arrangements. The Recorded Media department continues to be extremely busy dealing with day to day production issues, dealing with inquiries from members, agents and producers. The department continues to process huge amounts of production and transmission information and the establishment of a Contract Enforcement Officer with the department by Equity Council has proved to be an important and far sighted decision and has enable the department to initiate a number of projects and has been instrumental in addressing a spate of bankruptcies both in the UK and the USA. b. General As previously reported the process of reaching a ‘pan –industry’ agreement floundered on the lack of consensus amongst the broadcasters and producers as to the basis of one agreement which was fit for purpose for them. Equity reverted to its default position of negotiating with each separate entity and that process has been long and difficult during 2011. The broadcasters and producers’ ambitions vary wildly and often depending on the next big technological advance and the next marketing exercise that it presents the negotiators the challenge of being focused and consistent. In an attempt to focus the minds of the broadcasters and producers Equity contrasted a discussion document that pitched to them the concept of an agreement that they could sign up to but which contained specific provisions relevant to each of them separately i.e. public service rights for the BBC. The discussion document suggested a structure that would enable the employers to use a tick box to identify what rights they wish to acquire and the price they would have to pay. The discussions are somewhat more advanced with the BBC compared to ITV and dates are in the diary to meet PACT in 2012. The employing groups indentified some areas as ‘pillars of consensus’ between them which could be accommodated in a new agreement such as repeats, new platforms (VoD and DTO) etc. At the time of writing a meeting hasn’t taken place. There are a number of challenging and difficult issues which Equity is addressing with the employers including repeats, productions made for the secondary channels and their subsequent transfer back to the main channel, Video/DVD, payment for new platform exploitation, casting and production outside of the M25 and the walk-on agreement to name but a few. 2012 will be a busy year of negotiations with broadcasters and producers. Representatives from both the PMA and CPMA have been active participants in a number of meetings with the broadcasters and producers. 2011 was again another extremely tough year in the audio-visual industry with the broadcasters reducing the level of commissions from the independent sector and many productions not being re-commissioned. Those productions re-commissioned faced a cut in the budget on offer. In some cases productions faced a 40% deficit in funding and therefore had to work hard to secure deficit funding to enable the production to get off the ground. The independent production sector was not immune to the serious economic downturn experienced across the UK and the number of productions commissioned across all the UK terrestrial and digital channels decreased from the 2010 levels to 187. All the broadcasters reigned in their commissioning ambitions and as with previous years the BBC remained the biggest commissioner of independent productions. Commissions originating from BSKYB increased considerably which is to be welcomed. Members and agents experienced the squeezing of fees back to the minimum or slightly above with the number of episodes being decreased and the size of casts being squeezed as well. Commissions outside of London in the English regions and in the Nations remain a real problem and one which Equity is tackling directly with broadcasters and casting directors in the Regions and Nations. The number of commissions coming out of the UK secondary channels (which always was low) experienced the same problems as their terrestrial rivals but the good news is that a number of the so called minor Channels sought to increase the level of commissioning. Whilst 2010 saw an increasing number of internet only productions being commissioned by the broadcasters and produced by the independent sector, this has not continued into 2011. Where internet were commissioned they were largely as a support to existing Television shows and sought to expand on individual characters or develop further touched up storyline. Whilst this is a healthy trend it does present Equity and the agents’ community with challenges in the rights required by the broadcaster both for new platform exploitation and ongoing sales beyond such platforms.We are seeing increasing levels of investment from the USA particularly

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HBO who continue to invest heavily in production and specifically have greatly helped production in Northern Ireland with the returning series ‘Game of Thrones’. Many productions are been required to deliver interactive rights as they are related to games which are released as part of the title. There is more detailed discussion taking place with Equity through the New Media Working Party. The discussions revolve around performers rights attached to ‘performance capture’ and slow shift away from a physical product being available to the consumer to more a virtual product accessible via cloud technology. The challenge for Equity is to ensure performers rights are protected and monetised in whatever manner the public consume our performers performance physical and/or virtual. 2011 saw the broadcasters Video on Demand/catch up service grow from strength to strength none more so than the BBC iPlayer, with the content made up of BBC in-house production and PACT commissioned productions. The player is available is available via 3view, Virgin Media, Fetch TV, BT Vision , Freesat, Freeview, Wii, PS3, Xbox 360 and mobile devices including the iPad. The service is receiving in excess of 100m requests per month. Equity negotiates a collective licence with the BBC and the monies received are in turn distributed by BECS. In addition to the BBC iPlayer Equity has reached collective licence agreements with ITV, C4 and most recently BSKYB to enable our member’s performances to be used on these services with monies distributed by BECS. As independent producers negotiate the retention of rights outside of those granted to the broadcasters, Equity will have to strike agreements with those producers who want to make available production via Video on Demand and other new platforms such as Download to Own. The Recorded Media Department continues to undertake studio, set and location visits across the UK. Equity is making its presence felt in all the production centres established in Cardiff, Manchester and Glasgow. The first meeting of the ‘Soap’ Forum was held at Elstree studios. Representatives from all the serial dramas were invited to attend during which members could share their experiences and engage directly with Equity staff on matters of significance to their working lives. During 2012 we hope to continue this drive to reach members directly in their workplace. Equity and the Recorded Media department have been working closely with Irish Equity which, during the course of 2011, has faced serious challenges from the employers’ groups in the Republic of Ireland who have sought to avoid using the collective agreements covering film and TV in the Republic. Equity has continued to assist Irish Equity on the terms of the UK agreement and have collectively ensured that UK producers working in the Irish Republic use the terms of our PACT TV or Cinema Agreements. The Recorded Media Department, the Personal Managers Association (PMA) and the Co-operative Personal Managers Association continue to enjoy a fruitful relationship all issues pertinent to the industry and members of both agents’ organisations continue to play their specific role in the process of negotiations.

ii. ITV Negotiations on the ITV/Equity Television Agreement took place with ITV throughout the year. These have progressed slowly mainly due to waiting for dates and information from ITV. As ITV Studios produce programmes for the ITV network and for other broadcasters, they expressed their need to have their own producers’ agreement. At the moment ITV only use the ITV/Equity Agreement for their long running series such as Coronation Street and Emmerdale. For all other production, they use the PACT/Equity Agreement. Therefore ITV wish to update and change their existing agreement to incorporate all their production needs. The initial proposal from ITV was to have a higher upfront weekly fee which would buy a package of rights within this fee. This was rejected by Equity due to the number of rights included in the fee and the impact this would have on artists working on rates above the minimum fees. Equity tabled a discussion document which included minimum fees and a list of rights with a value for each of these rights and, where necessary, a time period in which these rights could be exploited. ITV bought into this principal but, as expected, had a different view on what the rights should cost and the time limit. Discussions are continuing. An important issue for Equity is how the 17% royalty on DVD sales is administered and the level of deductions that are applied by ITV. Equally new make for new platforms such as the internet needs to be addressed and included in the updated agreement. Day to day issues on productions made by ITV have been dealt with on an ongoing basis. The majority of the work done by ITV have been on the long running titles but this year has seen an increase in other productions made by ITV, which has been good news. Forum meetings continued to take place throughout the year on the production of ‘Coronation Street’ to deal with workplace issues. This forum has once again enabled a good working relationship between the cast and production and most definitely assisted in smoothing out issues before they turn into disputes. Various cast members have taken turns to attend the forum meetings and everyone has agreed how valuable they are in

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ensuring that good communication is achieved, with the support of their Union. At the end of 2011, the cast received notification that the omnibus of ‘Coronation Street’ will no longer be repeated on ITV1 but move to ITV2. This results in the cast losing the 37.5% repeat fee and will get a smaller royalty payment from the sale of the programme to ITV2. The cast are very concerned by this decision and how dramatically this impacts on their overall fee. ITV agreed to enter into discussions with Equity and look at possible solutions to compensate for this loss. They also agreed to continue paying the repeat fee until the situation was resolved. The negotiations are ongoing. Discussions continued with ITV regarding the use of members work on new media platforms and in particular on the ITV Player. The collective license with ITV was renewed for 2011 with an 11.4% increase upon the previous payment. The payment covers all ITV branded on demand offerings that have taken place in 2011, including via itv. com, BT and Virgin and PS3. ITV’s appeal on the decision against them regarding their case with the Revenue was heard this year. ITV argued with the Revenue that Class 1 NI contributions are not applicable for artists engaged on Equity contracts. ITV believe that artists are exempt because they are not paid any element of ‘salary’ i.e. fees are not related to time worked and therefore fall outside the regulations. The judgement was released in November 2010 and found in favour of the Revenue. The appeal was held in November 2011 and we are still waiting for the outcome of the case. Either way, the decision will have an impact on how ITV contract artists and wider implications for the entire industry. Meetings have been held with ITV about the implications of the introduction of new pension regulations which requires employers to auto-enrol workers into a pension scheme. Andrew Barker from First Act highlighted difficulties that may arise from the regulations and how to ensure our members are protected in the best way. The Equity Pension Scheme would qualify as a legitimate scheme under the regulations. Equity and First Act will continue talks with ITV on this matter.

iii. BBC Television Agreement

The negotiations which commenced in November 2009 with the BBC to amend the terms of BBC/Equity Television Agreement are still on-going. To progress the negotiations in October 2011 Equity produced a Discussion Paper which was endorsed in December 2011 by the Equity Council and was submitted to the BBC. The PMA and the CPMA were consulted and subsequently both organisations also approved the content of the document. This discussion paper contains a range of options designed to appeal to broadcasters and also independent production companies which include minimum fees, length of engagement, rights acquired in the fee package, public service rights, repeats payments for both the major and minor networks, network sales, VoD (video on demand), DTO (download to own) and non-UK sales/co-productions. Main Contract Fees Due to the on-going discussions with the BBC the fees remained unchanged during 2011, with the current fees being, Weekly Minimum Fee Dancers One Day Fee One Day Documentary (6 hours) Voice Session Fee Stunt Performers Session singers Fittings/Read-through (full day) Fittings/Read-through (1/2 day) Theatre Extracts (up to 3 mins) Theatre Extracts (up to 5 mins)

£571.00 £602.00 £372.00 £251.00 £194.00 £367.00 £214.00 £58.10 £29.80 £48.60 £74.00

Full details of all the agreement’s minimum fees and rates can be accessed via the Equity website. Delivering Quality First Following on from the licence fee settlement which was agreed between the BBC and the Government in Autumn 2010 which fixed the licence fee at £145.50 until 2017, in October 2011 the BBC published its Delivering Quality First strategy (DQF), this included a consultation period which ended in December 2011, with the results due to be published in early 2112. This strategy is designed to make savings of £700 million by 2016/17, including 2,000 staff

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redundancies. The scope of the cuts include budget reductions BBC One (-3%), BBC Three and BBC Four (-10%) for both channels. A small increase in the number of repeats transmitted on BBC One at peak time (8.5 – 10%), reinvestment of £150m into BBC One to include new drama, plus new comedy for One, Two & Four. In response Equity made reference to the BBC’s Talent Strategy which was introduced in 2008, which included the creation of capping and the banding of fees which have remained unchanged and this strategy is not due to end until 2013. On behalf of members working in variety and light entertainment Equity expressed concern regarding the limited range of entertainment programming within the schedules when compared to the volume of reality based programmes. Whilst supporting the BBC’s commitments to produce more programming in Scotland, Wales and Northern Ireland. In 2012 Equity will launch a campaign “Broadcasting in the Nations” to encourage all broadcasters including the BBC to engage more artists via localised casting. Within the English regions concern was also expressed regarding the lack of programme making in Birmingham and the West Midlands. Only Fools and Horses Daytime Repeats In February 2011 the BBC met with Equity to discuss the transmission of OFAH during week day afternoons. This resulted in a further series of meetings being held with the agents who represent the regular cast members as well as the BBC. Due to BBC One’s afternoon programming budget being substantially less than the cost of the daytime repeat fees as contained in the BBC/Equity Television Agreement, a variation to the repeat fees was eventually agreed securing an income source that would not normally be made available to the actors. If no agreement had been forthcoming this would have resulted in the BBC sourcing drama series from America or producing more reality television programmes. BBC Work for no Pay In July 2011 during a meeting at White City with the BBC, at which Mark Thompson (Director General) was in attendance a copy of an article from the 14th July edition of The Stage titled “BBC under fire for no pay advertisement” was presented and reference was also made to other recent castings posted on a casting website featuring BBC work for no pay. This action was then followed up by other examples of unpaid work being submitted to Diane Dumas, the BBC’s Head of Employee Relations. Diane then responded by giving an undertaking to Equity that she would reiterate to the BBC’s in-house production teams and also to the independent production companies commissioned by the BBC that advertising for work which is unpaid is not appropriate. Walk-ons and Supporting Artists The Walk-On and Supporting Artists’ Committee agreed in April 2011, that the fees contained within the BBC/ Equity Television Agreement should be frozen for three years until 31st July 2014. The current rates are, Supporting Artists Day Fee £85.50 Night Fee £93.70

Walk-Ons Day Fee £105.70 Night Fee £127.90

Full details of all the other payments for Walk-On & Supporting Artists as contained in Section 12 of the BBC/ Equity Television Agreement can be accessed via the Equity website. Walk-On & Supporting Artists Engaged During 2010 and 2011 2010 2011 WO engagements 9,813 9,563 SA engagements 35,650 34,810 Expenditure on Artists During 2011 the total fees paid to all artists by the BBC was £35,500,000. This represents a £2,000,000 decrease on the 2010 total which was £37,500,000. The Repeat Fees paid for BBC 1 and BBC 2 were £14,100,000. This

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total was more than double the 2010 total which was £7,000,000. Finally BBC 3, BBC 4, CBBC and Cbeebies paid £1,900,000, when compared to the 2010 total this represents an increase of 1,200,000. To summarise: during 2011 the BBC in total paid artists less fees whilst also increasing the repeat payments. BBC Catch Up Service 2011 (7day catch-up iPlayer and series stacking) Resulting from negotiations held with the BBC it was agreed to extend the agreement for a further three years from April 2011/12 to March 2013/14 incorporating an increase of 5% for each year. 2011/12 £436,527 £175,157

7 days catch-up series stacking

2012/13 £458,354 £183,915

7 days catch-up series stacking

2013/14 £481,271 £193,110

7 days catch-up series stacking

The terms of the licence agreement permit the BBC to broadcast up to 5,200 hours of 7 day catch-up TV and 780 hours of series stacking per year. It was further agreed that BECS (British Equity Collecting Society) will be engaged as the distribution agent of the BBC for the payments which shall be distributed to the Artists. Over the three year period the total due to be distributed equates to £1,928,334.00. BBC HD (High Definition) Service Resulting from negotiations held with the BBC it was agreed to extend the licence agreement for the period 1st April 2011 to 31st March 2012. The terms of this agreement permit the BBC to broadcast up to 250 titles featuring contributors engaged via the Equity/BBC Television Agreement and the BBC shall pay the sum £49,712.50 to Equity and it was further agreed that BECS (British Equity Collecting Society) will be engaged as the distribution agent of the BBC for the payments which shall be distributed to the Artists. BBC Three Broadband Premieres 2011/12 Resulting from negotiations held with the BBC it was agreed to extend the licence to permit BBC Three commissioned programmes comprising 3 comedies and 1 drama to premiere on-demand 7 days prior to transmission for a further 12 months until 31st March 2012. The BBC shall pay the sum £9,363.60 to Equity and it was further agreed that BECS (British Equity Collecting Society) will be engaged as the distribution agent of the BBC for the payments which shall be distributed to the Artists. BBC Television Royalties The payaways to Equity members for the financial year 2010/11 as a result of secondary exploitation totalled £23,028,830 (this includes all media activity - television exploitation, video/DVD, radio, music, audio books and digital media). This figure represents a 13% decrease against the 2009/10 payaways. The drop in SER monies can be explained by a delay in reporting and payments received by BBC Worldwide that relate to Holland and Belgium for Q4 2010 and Q1 2011, these payments should be paid shortly. As a result the figures listed are provisional and are subject to checks. When this data is finalised we shall inform members via the Equity website. See below for two graphs, the first graph compares the year on year totals for the period 2006/07 to 2010/2011. The second graph gives a breakdown of the 2009/2010 and 2010/11 totals by business area spend, which includes the USA, VIDEO, UKTV, SER (Simultaneous European Relay), PRIME, OTHER, EMEIA (Europe, Middle East, India and Africa), AUNZ (Australia and New Zealand) and ASIA.

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Equity – Spend per annum

2010/11

23.02

2009/10

26.10

2008/09

25.10

2007/08

23.40

2006/07

24.10 0

Millions (£)

Equity – spend per business area 2009/10 – 2010/11

A drop in SER payments for 20010/11 is due to a delay in receiving monies relating to Holland and Belgium for Q4 2010 and Q1 2011. SER/DTH

1.82

0.1

Worldwide Channels

0 7.81

2010/11

2.06

World 9.11

1.05

Sales & Distribution

1.16

EMEA

3.08 0.06

Consumer Products

0.25 8.78

2009/10

3.07

APAC 8.51

1.04

Americas

1.57

C. NEW MEDIA

There is more detailed discussion taking place with Equity through the New Media Working Party. The discussions revolve around performers rights attached to ‘performance capture’ and slow shift away from a physical product being available to the consumer to more a virtual product accessible via cloud technology. The challenge for Equity is to ensure performers rights are protected and monetised in whatever manner the public consume our performers’ performance physical and/or virtual. Discussions continue with the other English Speaking Unions of FIA to identify how best to define emerging ways the consumer can access games (eg Cloud) and then to attach a payment to such exploitation. During 2012/2013 the definitions agreed for performance capture will be incorporated within the Cinema Films agreement along with any games-specific additional uses as many features now want a games release based on the film name. We hope the introduction of a tax breaks/credits to the games industry will encourage an increase in games production in the UK and further attempts in reaching out to the games industry trades association will be made during the year. Many games companies are cutting back on the number of titles they release during the year and instead concentrate on a smaller number of blockbuster types. This has resulted in a reduction of the presence of US companies in the UK which will inevitably have an impact on the number of engagements offered.

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D. TV AND NEW MEDIA COMMERCIALS The Advertising in New Media Working Party met 3 times in 2011. This was primarily to finalise the agreed document with the IPA, particularly in relation to the Artist’s Declaration Form (ADF). A set of recommended fees were agreed by the WP, in conjunction with the PMA/CPMA, and these will be promulgated during 2012. A précis of the agreement has been prepared and will be distributed in 2012. Members of the Advertising in New Media Working Party: Jean Rogers (Vice President and Chair), Bryn Evans (Honorary Treasurer), Riky Ash, Peter Barnes, Jim Dowdall, Natasha Gershon, Corinna Marlowe, John McGuinn, Alan Thompson, John Webb Corporate/Non-broadcast video As per ARC Motion 35, the current Equity Guidelines on Corporate Films now include provisions for credits for the artists, the specific provisions being as per the Cinema Films Agreement. We are in exploratory talks with the trade association for corporate films, the IVCA, in the hope of progressing to negotiations for a collective agreement. If this transpires, then we will push hard for requirements for credits for the artists. Independent Local Radio Commercials (i) Commercials Produced by ILR Stations – Guidelines The Radio Commercials Working Party recommended that the existing minimum fees should be increased by 5% for 2012. Details of the Rate Card can be found in the Appendix. The Working Party continued to assist Equity in monitoring the emergence of new radio stations and the changes in names of existing stations. The Working Party met twice in 2011, the majority of the work is undertaken via an online Yahoo group. An online survey was launched with the aim of seeking views on the current rate system and possible ways of restructuring the rate card to reflect the changes to the industry brought about by new media and the legislation in the Digital Economy Act 2010. This was open to members and non-members who voice radio commercials, to producers and voice over agents. The results of the survey have provided an extensive insight into the views from the industry. The difficulty will be whether or not the economic climate can withstand any major changes to the payments made to artists for their work on radio commercials. The Working Party will continue to look at different options. Special thank you to Helena Breck who gave so much time and help with updating the rate card and ensuring all the details were correct. (ii) Commercials Produced by Advertising Agencies – Guidelines A website calculator has been built which includes all the current rates for those artists working in radio commercials for advertising agencies. The calculator can be found at: www.radiousage.co.uk

E. CONTRACT ENFORCEMENT

2011 was an extremely busy and lucrative year for contract enforcement; the focus being the ongoing audits of various US studios. The audit claims to date have centred on issues relating to the calculation of payments for videogram exploitation of Option B (royalty arrangement) films made under the 2002 PACT / Equity Cinema Films Agreement. In particular, Equity has experienced studios misapplying the provision relating to 50% recoupment of production cost. Below is an update as to the current status of each studio audit. Universal As a product of the audit process and resultant recalculation of royalty payments, Equity has recently received a global sum of $2.33 million (this equates to nearly £1.5 million) covering the titles Bridget Jones: The Edge of Reason, Nanny McPhee, Wimbledon, Mr Bean’s Holiday, United 93, Elizabeth: The Golden Age, The Bourne Ultimatum, Wanted and Mamma Mia! Costs attributable to the audit have been successfully recovered. Warner Brothers Attributable to both the audit process and the contract enforcement role, Equity has recently received reporting from Warner Brothers approaching a global amount of £400,000 and covering the titles Batman Begins, Charlie & The Chocolate Factory, Sweeney Todd, Syriana, Corpse Bride, Troy, V for Vendetta, The Dark Knight, Clash of the Titans, Ninja Assassin, Sherlock Holmes and Inception. Costs attributable to the audit have been successfully recovered. Other audits A great deal of progress has been made on the Disney audit and in fact a substantial offer has been made by

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Disney. However, Equity has rejected this on the grounds that the offer was for a lump sum settlement and therefore did not address any of the important issues relating to methodologies employed by Disney and interpretation of the contentious provisions of the Cinema Films Agreement. Accepting such an offer would have serious repercussions on all other Equity / Disney titles and also new productions. Equity has therefore made a counter-offer which addresses the calculations for each title and expects resolution (and therefore a substantial amount in royalties for members) in the near future. Announcement letters have been sent to Sony and Paramount and Tolling Agreements have been signed by both companies for the benefit of Equity contracted artists. Equity is unfortunately in the audit queue for each of these studios and does not expect full access until the middle of 2012. RHI Following extensive collaboration with the English-speaking Unions and lengthy negotiations culminating in an advantageous settlement agreement, RHI (formerly Hallmark) have successfully emerged from US Chapter 11 bankruptcy proceedings as a reorganised entity. The US bankruptcy process served to ratify the settlement agreement, which covered royalties and residuals owing on 28 separate titles, in the context of the revised corporate structure. Calculating the royalties and residuals payable to artists over numerous titles and incorporating this into an extremely complex US bankruptcy reorganisation plan has been a very long and arduous process but as a result Equity has secured what amounts to a substantial sum where, in the absence of this involvement, recovery of any funds would have been highly improbable. Further, artists’ contracts have been “assumed” unimpaired and therefore the reorganised company is responsible for future payments on any and all further exploitation of these titles. The global amount of money secured by Equity for artists under this deal is approaching $1,200,000 (approx £730,000), part of which is payable in monthly instalments over seven years. To date, we have received £535,000 and we hope soon to have all necessary cast information needed in order to distribute. MGM Following MGM’s emergence from Chapter 11 bankruptcy proceedings, Equity has received monies to remedy defaults on pre-bankruptcy obligations. Equity has, over the course of 2011, received circa £460,000 from MGM covering the titles Die Another Day, Casino Royale, Quantum of Solace, De-Lovely and Agent Cody Banks 2. Other Cinema Film secondary payments Equity collected just over £4,000 from Paramount relating to the titles Dragonslayer and Ragtime. Equity has also collected over £120,000 on Option A (small budget net profit participation) films including the titles Moon, Touching the Void, Oxford Murders and The King’s Speech – with the vast majority of that sum being attributable to the great success of The King’s Speech. The distribution of monies collected by Equity over 2011 has been subject to some delay due to the new distribution arrangements with BECS and the need to await finalisation of the distribution agreement (31st October 2011). Just under £1 million was distributed by BECS in January 2012 and further amounts will be caught up as soon as possible. However, another common problem is the need to chase correct cast allocation information from rights holders because information provided alongside payment is in often deficient. In some cases, this is likely to cause further delays in the distribution of funds. Television Production Royalties / Residuals Equity continues to monitor, enforce, collect and distribute royalties and residuals for titles made under Equity television agreements. Over the course of 2011 Equity collected just under £600,000 of TV payments. Notably, there is an ongoing arrangement to distribute HBO secondary payments and in particular the series Band of Brothers continues to bring in substantial amounts. Also noteworthy is the £170,000 of TV payments collected attributable to the Agatha Christie productions Murder is Easy, Dead Man’s Folly, Thirteen at Dinner, Murder with Mirrors and Murder in Three Acts. In January 2011 Equity learnt that certain of these titles had been repeated on ITV1 outside of the legitimate licence period. Equity initiated fresh negotiations with the rights holders of these titles, Warner Brothers, and, as a result, won improvements on the previous agreement (an overall increase of 30%) for transmissions on ITV1 including the removal of any cap on payment, a minimum guaranteed payment of £100 per artist and an inflation enhanced payment for all cast members. Total monies collected over 2011 in relation to both Cinema Film and Television Production secondary payments amount to just under £3.8 million. In addition to these payments collected on behalf of members, Equity has also assisted members with numerous other TV royalties where the rights holder remains responsible for paying artists direct. For instance, Equity has enforced payments from independent companies such as Endemol, Shed Media and Acorn Media as well as ITV and the BBC.

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F. ROYALTIES & RESIDUALS MANAGER

£4,100,348.43 in royalties was collected for distribution in 2011 which exceeded the 2010 total by over a million pounds. Again this is mainly due to the continuing success of the Film agreement relating to Film DVD sales and other sundry profits. This has been enhanced by the Audit of several Film Studios. 2011 has been a tumultuous year with the finalisation of the transfer of responsibility for paying royalties to BECS , the increasing amount of calls asking about monies including non-payment, and consent clip requests. Please note you need to provide BECS with your bank details as they are no longer issuing cheques. Recently First Night Records did not pay the Les Miserable Cast Album royalties due to the expiry of the contractual arrangement but have since agreed to do so.

G. AUDIO, RADIO & RECORDING

BBC Audio Agreement The Equity/BBC Audio Agreements minimum fees and payments were increased by 2% with effect from 1st August 2011 in line with the increase to all staff at the BBC. During negotiations it was agreed to clarify certain points in the Agreement namely, the Part Day fees clause and Photographic Calls clause. It was agreed in the previous year’s negotiations to include non-theatric rights (i.e. non-paying and trapped audiences) in the engagement fee. This applied to all contracts from 1st of August 2010. The BBC requested that this could be applied retrospectively to all contracts. Equity agreed that this could only be done where content is supplied on a cost-recovery basis and no profit is made. It was accepted by the BBC that all artists featured in the content will be credited by the licensee. One of the proposals from Equity was that when theatre excerpts are broadcast, that Theatre Directors are given a payment as are the actors in the clip. BBC rejected this stating that, from their experience, they are not prohibited from using extracts and Directors are happy to give their consent even though they are not being paid for the broadcast. This was debated at Council and it was decided that we accept the BBC proposals on the basis that a special meeting was held on the issue of theatre excerpts and payments to Directors. This meeting was held with the BBC on the 10th of October and was attended by John Carnegie, Faynia Williams (both representing the Theatre Directors’ Committee) and Cathy Sweet (ITV and Audio Organiser). It was made clear to the BBC that by not paying Theatre Directors for excerpts used on radio was putting the Directors in a very difficult position. The Directors have to give their consent for excerpts to be used and Directors were being forced to deny their consent because the BBC were not willing to pay them a small fee for the broadcast of their work. Nicola Hill from the BBC consulted with production and looked at the impact these payments would have on production. The BBC agreed that Theatre Directors will receive the same payment the actors get when excerpts are broadcast. However, the BBC will not put any wording in the agreement accepting the Directors should receive payment due to their copyright. The wording will link the payment to the actors’ clause and include Theatre Directors within that clause. Throughout the year, various issues arose on the production of ‘The Archers’ and it was decided to set up a Cast Forum. The forum has had its first meeting which was attended by the Editor, a Producer, 3 cast members and Cathy Sweet (ITV and Audio Organiser). Various issues were discussed such as late contracts, overtime payments, expenses and the booking system. It is hoped the forum will facilitate open communication between the cast and production and iron out issues before they become disputes. The plan is for the forum to meet twice a year with the ability to call a special meeting should the need arise. Independent Programmes commissioned by BBC Radio Equity continued to promulgate fees and circulated them to the various independent producers working in this sector. The fees are in line with those contained in the Equity/BBC Audio Agreement (and due to the feedback Equity receives from members and agents) this indicates that the fees are being adhered to by the producers. There has been continuous liaison between Equity and the Radio Independents Group to ensure good communication between the two organisations. BBC Singers The Singers accepted a 2% increase on all salaries in line with the rest of the BBC staff and was applied from the 1st of August 2011. Various meetings were held with the BBC Singers throughout the year regarding proposed cuts to the Performing Groups’ budget. The BBC Singers were facing a substantial cut to their budget around the sum of £200k which would have resulted in significant job losses or reduced hours / reduced pay. Equity argued vehemently against these cuts and after much negotiation, the BBC agreed to re-evaluate the amount and this was decreased substantially. However, savings still had to be made within the group and Equity held discussions with the BBC about how this would be done. The BBC decided the only way to make the savings was to make two posts redundant and reduce the number of singers from 24 to 22. There was a vacant alto post which would not be

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filled and the BBC moved forward on the consultation process to make a compulsory redundancy in the tenor section. The selection took place which included an interview and a vocal written assessment and a member was selected for redundancy. Throughout the process, Equity continued to argue against this redundancy and pointed out other ways that savings could be made rather than someone having to lose their job. Subsequent to the selection process, it became apparent that the orchestras had begun to advertise to fill their current vacancies. In addition to this there was a resignation within the BBC Singers which created another vacant post in the section. In light of these events, it was proposed to the BBC to freeze the posts within the orchestra groups and equally not to replace the vacant post within the Singers and to rather use freelancers instead of permanent staff. By using freelancers, this would make the required savings and would therefore prevent the compulsory redundancy from taking place. This would only be a temporary solution until such time as there was natural wastage within the tenors’ section. This proposal was initially rejected by the BBC without giving a proper explanation as to why this could not work. A consultation meeting was held between the BBC and our member and it was made clear that it was unacceptable for this proposal not to be given due consideration. The singers met informally as a group and expressed a willingness to take further action, should the proposals be rejected. A meeting was held on the 22nd of September where the BBC finally agreed to the proposals and therefore no redundancy was made within the BBC Singers. This was a great result and the members were delighted with the outcome. Thanks must be expressed to the two deputies, Elizabeth Poole and Charles Gibbs, for their hard work and devotion throughout a very difficult process. Spoken Voice Devices – Language and Educational Use Equity consulted with the educational language publishers regarding an increase to the rates for 2011. A 3% increase was proposed but the publishers felt this was unaffordable based on the difficult economic climate and offered 2%. After discussion it was agreed that there would be a sliding scale increase of 2.5% on the Band A rate, 2% increase on Band B and 1% increase on Band C. This was seen as a good compromise as most of the work is done on the Band A rate. The rates were increased on the 1st of March 2011. The minimum rates for educational language recordings are now £176 for a half day session and £295 for a full day session. Audiobooks The Audiobook Working Party continued their work throughout the year to promote and represent members working in this area. The Working Party met six times in 2011. The Working Party continued to monitor the agreements finalised with Isis and Soundings in 2009, to ensure they were being implemented correctly and members were being paid on time and royalties were being administered properly. At the beginning of 2011 a meeting was held with Ulverscroft Publishing and they agreed to extend the same agreements we have with Isis and Soundings to their Magma titles. This means that members working on these books will now receive royalties in line with the other agreements. The Working Party has also assisted in the strategy to approach other publishers with the aim of trying to get further agreements in place across this area. This has been very difficult to achieve but new ideas are being looked at and Equity is constantly putting pressure on these publishers. Areas of concern for the Working Party, which seem to be becoming more and more common, are deals between different publishers / producers where you are recording a book for one publisher but that book is also being published by another often larger publisher. Members on the Audiobook Register have been alerted to this to ensure people are getting all the information and therefore negotiating a proper fee for the book. In 2009 RNIB took the disappointing decision to lower fees paid to readers from 35p to 25p per recorded minute. Equity has been in ongoing dialogue with the RNIB about when the rates will revert back to 35p. The RNIB have confirmed they are doing everything they can to be in their financial position to improve the rates. They have been feeling the pressure from readers and particularly now they are struggling a lot more to get the readers they want. The RNIB have listened to ideas from us about other things they can do (i.e. commercial activity to generate income which they are now doing). The RNIB held a meeting with all their readers to discuss various changes and Equity was invited to attend the meeting as well. They have now increased the rate to 30p per recorded minute and it is hoped this will rise again next year to the original 35p. This has been a tough year for the Working Party with problems encountered with AudioGo (formerly BBC Audiobooks). BBC Audiobooks was sold to a company called AudioGo at the end of 2010. It was brought to our attention that AudioGo had taken the decision, without any consultation with us, to stop paying royalties on any new engagements. Equity immediately contacted AudioGo and had a meeting with Jan Patterson and discussed this at length and expressed our concern. It was accepted that applying the royalty system can be administratively costly and only less than 10% of audiobooks actually generate a royalty. It was proposed that some kind of tranche

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system could be applied whereby – once a book reaches a certain level of sales – that a lump sum could then be paid to the artist thereby protecting the very successful titles and the income generated from them. This was rejected outright by AudioGo. The Working Party have been battling on readers’ behalf with this for some time now but all attempts to meet with those in charge to progress this any further have been refused. The difficulty is that we do not have an agreement with AudioGo and therefore cannot force them to change their position. Their argument is that they are comparing themselves to other publishers who do not offer royalties and therefore feel like they are being penalised. However, it has been argued that if they do not offer royalties, then they should at least increase the upfront fee. An email went out to all members on the register to make them aware of this and encouraged them to ask for a higher fee when working for AudioGo. There have been further problems such as late payments and contracts being issued late and a meeting has been sought to discuss these problems. The Working Party agreed to not hold an Open Meeting this year but rather to arrange one for April 2012. It is hoped there will be more to report back to members then. Thanks go to all the members of the Audiobooks Working Party for their ongoing hard work and support over the year which has helped members working in this area greatly. The members of Audiobook Working Party are – Sean Barrett, Laurence Bouvard, Caroline Lennon, Sheila Mitchell, Liza Ross and David Thorpe.

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CHAPTER 4:

INTERNATIONAL EXCHANGES

A. BRITISH/AMERICAN EQUITY EXCHANGES Date TBD TBD

Leag/Non League League

Status Upcoming Upcoming

Show Ghost Rebecca

US/UK US US

TBD TBD TBD 25/11/2011 11/10/2011 15/08/2011 13/07/2011 22/06/2011 08/03/2011

SOLT SOLT League SOLT League SOLT SOLT SOLT League

Upcoming Upcoming Upcoming Current Current Current Completed Current Completed

Master Class Bodyguard One Man, Two Guvnors Round-Heeled Woman Chinglish South Pacific Chicago Ghost South Pacific

UK UK US UK US UK UK UK US

25/02/2011 11/02/2011 08/02/2011 06/11/2010 23/09/2010 23/09/2010 23/09/2010 23/09/2010 9/7/2010 8/21/2010 10/08/2010 6/26/2010 6/26/2010 4/6/2010 20/02/2010 11/02/2010 02/02/2010 15/12/2009 24/11/2009

League SOLT SOLT SOLT SOLT SOLT SOLT SOLT SOLT SOLT League League League League SOLT SOLT League League League

Completed Completed Completed Completed Completed Completed Completed Completed Completed Completed Completed Completed Completed Completed Completed Completed Completed Completed Completed

Arcadia Umbrellas of Cherbourg Million Dollar Quartet Fela! La Bete La Bete La Bete La Bete Blood & Gifts Deathtrap South Pacific La Bete La Bete La Cage Aux Folles Love Never Dies Serenading Louie Billy Elliot South Pacific A Little Night Music

US UK UK UK UK UK UK UK UK UK US US US US UK UK US US US

21/11/2009 17/11/2009 09/09/2009 13/07/2009 01/02/2009 01/10/2008 28/09/2008

SOLT League SOLT SOLT League League League

Completed Completed Completed Completed Completed Completed Completed

Cat on a Hot Tin Roof God of Carnage Breakfast at Tiffany's Chicago Chicago Billy Elliot Dirty Dancing

UK US UK UK US US US

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Actor(s) Richard Fleeshman Tam Mutu Jeremy Cohen/Garrett Sorenson Heather Headley Multiple Sharon Gless Stephen Pucci Loretta Ables Sayre Christie Brinkley Caissie Levy Jason Howard Bel Powley, Tom Riley, Lia Williams Andrew Durand Rob Lyon Sahr Ngaujah Greta Lee Lisa Joyce Michael Milligan Sally Wingert Demosthenes Chrysan Terry Beaver Jason Howard Robert Lonsdale Lisa Sadovy Nicholas Cunningham Sierra Boggess Jason Butler Harner Phillip Whitchurch Jason Howard Alexander Hanson Sanaa Lathan, Phylicia Rashad Ken Stott Joseph Cross Michelle Williams Amra-Faye Wright Haydn Gwynne Josef Brown

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CHAPTER 5:

INTERNATIONAL FEDERATION OF ACTORS A. EUROFIA AND FIA EXECUTIVE COMMITTEE

There were two meetings of the European group of the International Federation of Actors (EuroFIA) during 2011. The first meeting was held at the headquarters of German general union Ver.di in Berlin on 25th and 27th (morning) June. Christine Payne, Stephen Spence, Jean Rogers and Louise McMullan attended from Equity. The meeting received a report and presentation from the newly founded Turkey Actorsâ&#x20AC;&#x2122; Union and received a report on the success of FIA representatives in securing a resolution recommending a resumption of the Diplomatic Conference on the Audio Visual Performers Treatry at WIPO. The second meeting was held in Lisbon on 12th and 13th November and was preceded by a joint meeting with European Collecting Societies on 11th November. Equity was represented by Christine Payne, Bryn Evans and Louise McMullan. Many of the EuroFIA unions present reported on continuing cuts to the arts and culture sectors in their countries. Unions also discussed developments in the European Audiovisual Sectoral Social Dialogue Committee which had led to the adoption of the joint statement by employers and unions on Gender Equality. At the joint meeting with European Collecting Societies, Equity General Secretary Christine Payne spoke alongside a representative from French collecting society ADAMI on the subject of the EU Commission Green Paper on online use of AV works. BECS Chief Executive Andy Prodger joined the panel looking at the Term Directive and the possible scope for extension of the Term of Protection, which has recently benefitted audio performers, to audiovisual performers. Dancersâ&#x20AC;&#x2122; Transitions Conference In 2010 EuroFIA secured funding from the European Commission for a research project entitled: Developing career transition and life-long learning schemes to offer long-term career opportunities to dancers after retirement from performing. Unions across Europe, including Equity, contributed to the mapping research project carried out to identify current practice and recommendations for countries wishing to establish or improve such schemes. The final conference of the project took place on Sunday 26th June 2011 at the headquarters of Ver.di, the German general union, which incorporates the theatre and dance sectors. The conference included an overview of the mapping research and survey findings, presentations about transition schemes in France, the Netherlands and Belgium and three panel sessions which explored how to develop and extend transition schemes, how to ensure the transfer of social protection rights and how to secure partnerships and funding streams. Project steering group member Stephen Spence chaired one of the panel discussions and, in her capacity as Vice President of FIA, Christine Payne spoke at the conclusion of the conference to summarise the main themes of the day which included the need for unions to have a role in informing itinerant workers about their rights to pensions and unemployment benefits and the important contribution of dancers to the cultural and economic landscape throughout Europe. Jean Rogers and Louise McMullan also attended from Equity. FIA Executive Committee The FIA Executive Committee (EC) was held in Sydney on 16 and 17 April 2011. Christine Payne, General Secretary and Malcolm Sinclair, President, attended both meetings. In additional Christine and Malcolm were invited to attend a meeting of the Australian Equity Executive Committee of MEAA (Media Entertainment Arts Alliance), on Thursday 14 April. Christine also attended a meeting of the Presidium on 14 April. The Executive discussed the FIA Charter for Gender Equality and Equal Opportunities and feasibility of a FIA Charter for LGBT performers. There was also two panel discussions; Recruiting, Organising and Membership Retention and Recordings of Live Performances. Christine Payne contributed to the latter panel and shared the experience of the National Theatre (NT Live) and Digital Theatre. Representatives also debated the outcomes of the recent dispute around the filming of The Hobbit in New Zealand and thanked unions in the US and Equity for their support.

B. FIA ENGLISH SPEAKING GROUP

A meeting of the FIA English Speaking group and the North American group was held on 15 April in Sydney. Equity reported on progress towards implementation of the Digital Economy Act in the UK and the Judicial Review brought by internet service providers Talk Talk and BT. Unions present at this meeting also discussed The Tangerine Project, an initiative of Canadian Actors Equity, aimed at offering more flexible contracting options for the development and production of new work.

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CHAPTER 6:

RELATIONSHIPS WITH OUTSIDE BODIES A. AMNESTY

Equity continues to affiliate to Amnesty and is a member of the organisation’s Trade Union Network. Amnesty remains an essential source of information on human rights campaigns, activism and events for Equity’s own International Committee for Artists Freedom.

B. BRITISH COPYRIGHT COUNCIL

Equity continues to be a member of the BCC and works alongside BECS (British Equity Collecting Society) to lobby the UK Intellectual Property Office on matters relating to copyright and performers’ intellectual property rights.

C. BRITISH EQUITY COLLECTING SOCIETY (BECS)

The BECS Board for 2010/2012 is composed of the following Directors: Jean Rogers (Chair) Ian Barritt (Vice-Chair) Robin Browne Bryn Evans Graham Hamilton Freddie Pyne Jo Cameron Brown John Webb Peter Barnes Andy Prodger become full time Chief Executive on 1 May 2011 leaving his post at Equity to do so. BECS moved back to its original home in Guild House in June 2010 which will have long term benefits to both Equity and BECS BECS allocated £7.9 million to performers in British film, television and radio productions in its biggest ever annual distribution. Due to increasing sources of revenue negotiated by Equity and managed by BECS, payments were issued in two tranches this year for greater clarity and ease of understanding. In addition to the collection and distribution of money to performers, BECS also joins with Equity to lobby for positive change, particularly in the area of performers rights, to legislation both here in the UK and within Europe. Anyone interested in more information about BECS should visit the website at www.equitycollecting.org.uk or contact Angela Lyttle on 020 7670 0350 or by email at alyttle@equity.org.uk.

D. DANCE UK

Equity continues to support the work of Dance UK and gives financial support to the Healthier Dancer Programme. Caroline Miller remains as Director. Dance UK was advised that its Arts Council Grant would be discontinued following the review of Arts Council Funding.

E. EQUITY CHARITABLE TRUST (FORMERLY EQUITY TRUST FUND)

The Equity Charitable Trust is an independent charity, founded in 1989, whose aims are to help all members of the profession who are in genuine need. The Trust can help professional actors and other performers when times get hard, or when they want to explore different career paths. The Trust is unable to help musicians, drama students or amateur performers. The Trust can help with the costs of retraining for a recognised qualification, or for one-off payments to help with financial emergencies, such as utility bills or urgent home repairs. Each case is considered on its merits and any grants given are proportional to the individual need. Often, our grants will only contribute to part of the cost involved but can make the crucial difference between following a new path, and struggling to cope.

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The Trust also looks after two special trust funds, The John Fernald Award for assistant theatre directors, and The Evelyn Norris Trust, for convalescence and respite breaks for members and ex-members of the concert and theatrical profession. The registered offices are Plouviez House, 19 – 20 Hatton Place, London EC1N 8RU. Telephone Number: 0207 831 1926; Facsimile: 020 7242 799. Secretary: Keith Carter; Debt/Welfare Advisor: Rosalind Ambrose; and Administrative Assistant: Kaethe Cherney. Equity is entitled to nominate five Council representatives to the Trust’s Board and following an election the following members of the Equity Council were elected by and from the Council to serve on the Board for the current term of the Council (2010-1012): Annie Bright, David Cockayne, Bryn Evans, Ryan Forde Iosco and Graham Hamilton.

F. THE EVELYN NORRIS TRUST

During 2011, the Evelyn Norris Trust awarded 27 grants totaling £20,450 to members and ex-members of the concert and theatrical profession. These grants were awarded for convalescent and respite holidays following illness or injury. Further grants of £1,750 were awarded to Brinsworth House and to Denville Hall.

G. EDUCATIONAL RECORDING AGENCY (ERA)

The ERA Licensing Scheme permits staff at educational establishments to record, for non-commercial educational purposes, radio and television broadcast output of ERA’s Members. A licence is required to use recordings of broadcasts as teaching resources. Most educational establishments in the UK are already covered by an ERA licence. This may be by individual licence or as part of a blanket licence agreement, but all licences are renewable annually. All members of ERA receive a share of these licences in proportion to the rights they represent. Equity’s share, as reported in the Annual Accounts, is use for the general benefit of the members. One new rights holders joined ERA in 2011 being Directors UK Limited. Equity is represented on the Board of ERA by Christine Payne. The members of ERA are: Authors’ Licensing and Collecting Society Limited Association De Gestion Internationale Collective Des Oeuvres Audiovisuelles BBC Worldwide Limited BPI (British Recorded Music Industry) Limited Channel Four Television Corporation Channel 5 Broadcasting Limited Compact Collections Limited Design and Artists Copyright Society Limited Directors UK Limited Equity FOCAL International Limited The Incorporated Society of Musicans ITV Network Limited Mechanical Copyright Protection Society Musicians’ Union The Performing Right Society Limited Phonographic Performance Limited S4C Phonographic Performance Limited Performing Right Society Directors’ & Producers’ Rights Society (1992) Ltd Association De Geston Internationale Collective Des Oeuvres Audiovisuelles

H. FEU (FEDERATION OF ENTERTAINMENT UNIONS)

The member unions of the FEU (BECTU, Equity, Musicians Union, NUJ, PFA, Writers Guild of Great Britain and Unite) held regular plenary meetings during 2010. The group continued its work to campaign collectively on issues to do with public service broadcasting, arts funding and industrial matters. Key areas of concern on the FEU’s agenda included:

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Arts and Culture Funding: One of the FEU’s main achievements this year was the establishment of the Lost Arts campaign. The campaign, which was launched at a rally in Westminster in June 2011, catalogues the cuts suffered by the whole arts and cultural sector and features local campaigns and stories. The campaign has also received support from PCS and Prospect, representing administrative and support workers in the cultural sector. BBC: Following the publication of Delivering Quality First, the BBC’s plan for cutting costs in the wake of 20% Government cuts and the freezing of the licence fee, the FEU agreed to fund a postcard campaign to encourage licence fee payers to ‘Stand up for Public Service Broadcasting’. The postcard asks members of the public to write to the Chair of the BBC Trust and their MPs calling for a review of the licence fee settlement. Broadcasting in the Nations: Equity and the FEU facilitated a number of meetings with members from Scotland, Wales and Northern Ireland on this issue. The meetings were part of a process to help formulate a strategy to address the lack of work opportunities for performers and other creative workers. The goals of the campaign strategy will be organising and mobilising members, promoting professional, local employment opportunities for Equity members in the nations and encouraging television production (both BBC and independent) in the Nations. Theatre and Arts Funding: Member unions, included Equity provided regular updates on the success of industrial negotiations in the theatre sector and reported back from meetings with Arts Council England. Ofcom: The FEU held two meetings with Ofcom during 2011. Issues discussed included progress on the implementation of the Digital Economy Act, out of London production and the forthcoming Communications Bill. The 2012 Olympics: The FEU Olympics Committee continued to liaise with the TUC and LOCOG on the development of volunteering protocols and the Cultural Olympiad. During 2011 member unions of the FEU raised a number of concerns about the use of volunteers and interns to work in performing and other roles during the Games. Training: Equity’s General Secretary, Christine Payne, continued to serve on the boards of Creative and Cultural Skills and Skillset on behalf of the FEU. Copyright: The FEU continued to support the efforts of the Creative Coalition Campaign to combat illegal copyright infringement and campaign to implement the Digital Economy Act. The CCC is chaired by Equity General Secretary Christine Payne.

I. THE INTERNATIONAL PERFORMERS AID TRUST (IPAT)

The last few months of the 2010/11 year were little short of momentous for the Trust. There is little doubt that, whatever the outcome of the changes that the Board of Trustees have decided to make and the defence of the Trust that we were forced to undertake, the very nature of the IPAT is about to alter. Nonetheless, the Trust has continued throughout to provide help, support and hope to countless performers including members of the following companies :Music for Hope, El Salvador; Teatro Kaliban, Uruguay; Music for Africa, South Africa: Jos Theatre, Nigeria; The Five Cs Theatre Company, Kenya; Reassmey Angkor Bassac Theatre Troupe, Cambodia; Bridge Theatre Nairobi, Kenya In addition we were able to help three individual performers and others, all in keeping with our Mission Statement: The International Performers’ Aid Trust is a charity for the relief of poverty amongst people involved in the performing arts in distress in all parts of the world. IPAT’s decisions are made on professional and humanitarian principles, without political bias. The Trust will endeavour to supply such aid and encouragement as is appropriate, for the preservation of the life and health of those working in the performing arts suffering from poverty and distress to enable them to continue to develop and nurture the imaginative faculty which is the heart of drama, music and artistic performance. In the course of 2010, the Trust passed the milestone of having raised over a quarter of a million pounds in its first

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eleven years - no mean achievement for an organisation as small and part-time as IPAT. Of this £250,000, we have distributed over £150,000 to beneficiaries - in fact, at the beginning of the 2011/2012 financial year, our funds stood at approximately £92,000. However, we faced the dual problem that, having no regular source of funding, it was becoming ever more difficult to ensure that the Trust had reliable access to sufficient money to continue its amazingly successful work. At the same time, one of our major funders suggested that they might withdraw their backing from us. The Trust can be very grateful to our Trustee, Bobby Mill, and our Patron, Jeffry Wickham, for their hard work and their enormous contributions to changing the attitude of the Combined Theatrical Charities, the charitable body who, over the years have provided some £65,000 of the £250,000 mentioned. IPAT is delighted to report that they have decided to continue to support the Trust. The Trust has decided to try to ensure its future by appointing a paid Secretary, and has also decided to appoint a professional Fundraiser and Development Officer, Isabel Tonge, so that, in these very difficult days, the charity is able to continue its life giving and life saving work. It is truly sad to have to record the death of our Vice President, Miriam Karlin. She was involved in founding the Trust and her love for and interest in it continued to the very end of her life. We were enriched by Miriam’s involvement and she will be very much missed. We will always remain grateful to her for having persuaded Alan Rickman to become our President and we are extremely lucky to have a President who takes such an active interest in the Trust. We continue to be indebted to all our donors and we are proud to be a member of the Combined Theatrical Charities, for whose help we are very appreciative. We are also grateful to Equity, who are represented on the trust by Councillor Henrietta Branwell. The Union no longer assists the Trust financially, but does feature the work of the Trust in the Journal, as well as providing meeting rooms and a post forwarding facility. As we embark on what might be seen as “Phase Two” of the Trust’s life, I can only re-echo that “we cannot solve the problems of the world, but we can - and do - bring candles of hope into some of the darkest places in the world.” Long may it continue.

J. LIBERTY

Equity continues to affiliate to Liberty and its Trade Union Liaison Committee.

K. PERFORMERS’ ALLIANCE

During 2011 Equity, the Musicians Union and the Writers Guild of Great Britain continued to meet quarterly and coordinate joint work on matters of common interest. The Alliance also liaised closely with the Federation of Entertainment Unions and the TUC. Representatives from each of the unions continued to have regular meetings with the Chief Executive of Arts Council England, Alan Davey. The core issues of concern to the Performers Alliance during the year were the impact of cuts to arts funding nationally and at local authority level, negotiations with employers, the Licensing Act and the Hargreaves Review of Intellectual Property. The unions of the Performers’ Alliance also worked together to ensure a good turnout from workers in the entertainment industry at the TUC March for the Alternative in early 2011. The Performers’ Alliance Parliamentary Group continues to support and provide assistance for parliamentarians on issues that affect people working in the entertainment industry. It also provides the Performers’ Alliance with a method of engaging with MPs and Peers from all parties and furthering the unions’ campaigns in parliament. The Group has the following officers: Chair (Baroness McIntosh), Secretary (Don Foster MP), Vice Chairs (John Whittingdale MP and Michael Connarty MP). The 2011 Performers’ Alliance Parliamentary Reception was held in the Terrace Marquee in the House of Commons on 9th November. The event was addressed by PAPG Chair Baroness McIntosh, Culture Minister Ed Vaizey and new Shadow Culture Secretary Harriet Harman. Around 50 MPs and Peers attended and discussed arts funding, intellectual property and the Licensing Act with members and staff of the three unions in attendance. A video showcasing the activities of the three unions of the Performers’ Alliance was also shown at the event.

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L. PPL PERFORMER BOARD

PPL issues licences to hundreds of thousands of businesses and organisations from all sectors across the UK playing recorded music and/or music videos in public. These can range from bars, nightclubs, shops and hotels to offices, factories, gyms, schools, universities and local authorities. PPL also licenses music suppliers to copy recorded music for services such as in-store music systems, jukeboxes, compilations for exercise classes and inflight entertainment systems. PPL also licenses TV and radio broadcasters to play recorded music as part of their programming, from the BBC, ITV, Channel 4, Five and Sky to commercial radio networks such as Capital, Heart and Absolute Radio, as well as online services. PPL does not retain a profit for its services. Revenue collected, after administration costs, is passed onto its registered members: thousands of performers and record companies who receive the royalties they deserve for their recorded music. PPL members range from session musicians and emerging artists to major record labels and globally successful performers – all of whom are entitled to be fairly paid for the use of their recorded music. Through agreements with over 50 music licensing companies around the world, PPL is also able to collect royalties for its members globally. PPL is one of several collection societies in the UK that manage the rights and licence different types of copyrighted material. PPL licenses the use of recorded music while others exist to manage rights in musical compositions, newspaper extracts, etc. Each of these organisations enable the user of these materials to obtain a licence, so both users and copyright owners can benefit from increased efficiency. Until November 2010 Equity’s representative on the PPL Board and PPL Performers Board was Glen Barnham, former BBC Organiser. Glen was responsible for guiding the merger of PAMRA and AURA into PPL to form the Performer Board and has been an invaluable Board member for Equity. The union records its thanks to him. In 2011 the General Secretary joined the PPL Board and Performer Board as Equity’s representative.

M. SECTOR SKILLS COUNCIL

i. Skillset (www.skillset.org) Skillset is the industry body which supports skills and training for people and businesses in the audio-visual industries to ensure the UK creative media industries maintain their world class position. The Federation of Entertainment Unions nominated the General Secretary to represent the unions’ interests on Skillset’s Board. ii. Cultural and Creative Skills – CC Skills (www.ccskills.org.uk) Creative & Cultural skills is the SSC for the advertising, craft, cultural heritage, design, literature, music, performing and visual arts industry sectors. During the year Creative & Cultural Skills and the National Skills Academy for Creative & Cultural combined forces to create a strengthened and more comprehensive skills business for the UK’s creative and cultural industries. Paul Latham, Chief Operating Officer of Live Nation, became chair of the combined business. Catherine Large and Pauline Tambling became Joint Chief Executive Officers. The Federation of Entertainment Unions nominated Brian Kelly (BECTU) as its representative on the new Board.

N. TRADES UNION CONGRESS

TUC Congress was held in London, 12-14th September 2011. The delegation comprised: Malcolm Sinclair (President), Laura Bailey, Corinna Marlowe, and Christine Payne (General Secretary). Martin Brown and Louise McMullan also attended to assist the delegation. MOTIONS: The delegation spoke as follows (the relevant Motions are attached): Tuesday 15 September • Laura proposed a Composite motion on Lost Arts and a decent work agenda for the creative industries (which incorporated motions put by Equity, the Musicians Union and the Writers Guild of Great Britain). • Malcolm proposed Equity’s motion Educating Consumers about Intellectual Property Rights.

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• Corinna seconded a motion from the WGGB on cuts to the BBC, which included the Equity amendment on cuts to short stories/radio drama. TUC GENERAL COUNCIL – SECTION C: the General Secretary was not re-elected to the General Council. From the other FEU unions, Michelle Stanistreet (NUJ) and John Smith (MU) were elected to the General Council. Those elected are indicated in bold. Name Jonathan Baume Bob Crow Mark Dickinson Steve Gillan Michael Leahy Jonathan Ledger Robert F Monks Ged Nichols Christine Payne Tim Poil John Smith Michelle Stanistreet Simon Weller Matt Wrack

Union FDA RMT Nautilus International POA Community Napo URTU Accord Equity NGSU Musicians’ Union NUJ ASLEF FBU

Votes 356,000 387,000 458,000 386,000 379,000 345,000 262,000 382,000 258,000 356,000 481,000 398,000 360,000 455,000

REFORM OF THE GENERAL COUNCIL: Following the successful passage of a rule change at Congress, prompted by the 2010 motion from Equity on the General Council and the review undertaken by the TUC, this will be the last year that Equity will have to stand in the section C election. From 2011 Equity will have a guaranteed place on the General Council, along with all other TUC affiliates with more than 30,000 members. NEW TUC PRESIDENT – Paul Kenny, General Secretary of GMB will be TUC President in 2011. SPEAKERS - included Ed Miliband MP, Leader of the Labour Party, and Norma Stephenson, Labour Party sororal delegate. Laura Bailey asked the following question to Ed Miliband during his Q&A session: My name is Laura and I’m an actress, starting out in my career. Lots of young people in the creative industries are working for free or for very low pay for years, often for large, powerful companies. What are you going to do to improve our employment rights and give us a fair chance at work? FRINGE – Laura spoke at Delivering for Young Workers – a new publication and video viral campaign devised by Unions 21. Laura shared her own experience of getting involved in her union, organising other young workers and helping to form Equity’s Young Members Committee. GENERAL COUNCIL DINNER - Malcolm and Christine attended. Guest speaker was Ed Balls MP. MIRIAM KARLIN: a piece on Miriam was included in the Obituary of the printed General Council Report and a photograph of her was shown during the Obituary silence at the start of Congress: Extract from the General Council Report: Miriam Karlin, who died in June aged 85, was an actor who became famous for her television role as Paddy, the militant shop steward in the Rag Trade, and who was herself an active member of Equity, serving on the union’s Council. A regular delegate to the TUC Congress in the 1990s, her contributions from the platform enlivened many a debate with passion and humour. Brought up in north London, she attended RADA and appeared in music halls, as well as touring with the Entertainments National Service Association during the second world war. A wide range of roles on the stage followed, and in 1971 she made a brief but memorable appearance in A Clockwork Orange. She appeared in a number of television programmes including Casualty, The Bill, Holby City and Miss Marple, and starred in a range of films including Children of Men and Flashbacks of a Fool. But it was her role in the Rag Trade for which she was best known, with Paddy’s catchphrase “everybody out” quoted by the millions who watched the BBC television comedy series. Miriam Karlin was deeply committed to a number of political causes, and was a campaigner for the Anti-Nazi League, CND and Soviet Jewry. She also went on marches in support of the miners’ strike and refused to pay her poll tax.

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Copies of relevant motions are included below: Composite 12: Lost Arts and a decent work agenda for the creative industries Motions 63, 64 and 65 Congress notes the importance of the creative industries as a source of employment and economic growth in the UK, which has a unrivalled reputation for the quality of its arts, culture and heritage. This reputation has been earned over many years and is due in no small part to public funding from successive governments. This sector, which includes the performing arts and broadcasting, now accounts for economic output of at least £60bn per annum, 8 per cent of the UK’s GDP and nearly 10 per cent of the UK’s businesses. There are 2.3m UK workers in the creative sector. Congress further notes the prevalence of irregular and insecure work in the creative sector. Performers, models and other creative workers, particularly young workers, commonly experience low pay, denial of the National Minimum Wage, long working hours and unscrupulous practices by entertainment agencies. Now the arts in the UK are having to share the burden of an economic policy which has led to substantial cuts in public funding over the next three years, the reductions in public funding for core workplaces that are more likely to use union negotiated agreements also means that unemployment and exploitation in the sector is likely to increase. Training and development opportunities for young people entering the sector and small venues, which are vital for those starting out in the industry, are severely under threat. Congress also notes with great concern the recent cuts in Arts Council England subsidies to writers’ organisations and to companies which present writers’ work. It notes in particular that despite the huge increase in, and success of, new writing over the last decade, new writing companies like Out of Joint and playwrights’ development agencies like North West Playwrights and Theatre Writing Partnership have suffered disproportionate cuts in funding because companies in London are less dependent on local authority funding, companies outside London are more vulnerable to ‘double whammy’ cuts from both the Arts Council and local authorities. Therefore, taken as a whole, national and local cuts in arts funding will widen the existing gap in provision between London and the rest of England. As happened in the 1980s, the brunt of the theatre cuts will be borne by freelance artists (including actors, directors and designers as well as writers) who are employed production by production, rather than by permanent staff. Lost Arts has been set up by eight unions that represent the people who work in the arts in the UK. It will record and catalogue all of the projects, events, initiatives, performances, organizations and companies that will be lost due to the cuts in public funding. This is not to suggest that the arts are more important than other sectors that are suffering similar cuts; but at the same time we want to make sure that the effects of these cuts are properly accounted and freely publicised. By keeping an account of the damage done, we hope to win the argument for public funding of arts and culture once and for all. Congress calls upon the General Council with entertainment unions and other bodies to support the Lost Arts campaign and campaigning for a restoration of lost Arts Council and local authority subsidy to the arts, both during the course of this parliament and beyond. Congress also resolves to fight for decent work in the entertainment and creative industries. Congress calls on the government to stop the attacks on public funding for the arts and culture, to introduce better regulation of entertainment agencies and stronger enforcement of employment rights. Congress further supports the ongoing campaign to achieve an exemption from the Licensing Act for live entertainment and supports the work being done by unions in the sector to organise creative workers and extend the use of union-negotiated terms and conditions. Moved by: Equity Seconded by: Musicians’ Union Supporter: Writers’ Guild of Great Britain Motion 66 Educating consumers about intellectual property rights Congress notes the successful passage of the Digital Economy Act (DEA) in 2010. It is currently estimated that

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copyright theft, for example through illegal downloading, is depriving the creative businesses of up to a fifth of their revenues every year. In an industry that requires substantial levels of upfront investment, this level of infringement is a serious threat to jobs and the creation of new content such as films, TV programmes and new music. The internet presents a great opportunity to reach out to new audiences. However, legislative measures such as the DEA are vital in order to allow the creative industries to continue to flourish. Without strong and effective measures to tackle illegal file-sharing, it will be impossible for performers and creators to continue to provide the content that will drive the digital economy. Congress believes that the measures introduced through the DEA, starting with a process of sending letters to educate and alert consumers found to have acquired copyright material through illegal downloading, have a good chance of significantly reducing this problem. Congress supports the efforts of the Federation of Entertainment Unions to highlight this issue and its work through the Creative Coalition Campaign to educate consumers about the importance of intellectual property rights as a vital source of funding that maintains and creates jobs and provides sustainable income for performers. Moved by: Equity Seconded by: Musicians Union Motion 68 BBC Licence Fee Congress believes that the BBC is being subjected to death by a thousand cuts: i. The present government has frozen the BBC licence fee for six years, at a time when RPI has risen to over 4 per cent. ii. The previous government made the BBC responsible for funding the digital switchover and delivering a digital help scheme; all of which comes out of the licence fee. iii. Congress notes the key value of the BBC’s move to Salford but that it comes at a cost to programme-making. iv. The government is trying to make the BBC responsible for S4C, which will not necessarily have the interests of Welsh-language programming as its primary focus and can only be detrimental to both parties; both financially and creatively. All of this diverts precious money from programme making, which is the BBC’s core function. Not only do shows suffer (and with that the incomes of writers, performers and production workers), but it reduces the BBC’s future income from overseas sales, DVDs and downloads. There is only so much that can be loaded on to the BBC’s back before it breaks. Congress asks the government to unfreeze the licence fee and to give the BBC the respect and the freedom it needs to carry on with its primary purpose, which is to continue to make first-class British television and radio. Amendment from Equity (accepted): After point (iv) add an additional point (v): BBC Radio 4 is suffering cuts to what are considered by them to be high-cost programmes - Drama and, strangely, the short story. Thus perversely throwing away spoken word product which is the envy of the world and historically provides vital opportunities to new and established writers and actors. Moved by: Writers Guild of Great Britain Seconded by: Equity

O. BAPAM

BAPAM (the British Association for Performing Arts Medicine) is a unique health charity, which is part funded by Equity. This means that members and student members with any performance-related health problem are entitled to help from BAPAM which provides FREE and confidential assessment clinics with GPs who have specialist understanding of performers’ needs, and referrals to the best treatment available. The types of issues that BAPAM help with include RSI and other muscle strain, back pain, voice problems, tinnitus, depression, stage fright and a host of other injuries and medical problems. They are also a source of advice on injury prevention and have a network of practitioners who have an interest in treating performing artists. The unions’ representative on the Board is Esther Ruth Elliott (Equity Councillor). www.bapam.org.uk

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P. CDET

Equity continued to support the work of the Council for Dance Education and Training (CDET) under the Directorship of Sean Williams who continued the work of accrediting vocational dance and musical theatre schools and attracted new schools. The CDET is looking at ways of offering course validation to providers offering one or two year full time vocational training where the course is a foundation or preparation for entry to professional vocational training. CDET obtained a large grant from the Arts Council to establish the National Register of Dance Teachers and Artists.

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CHAPTER 7:

COUNCIL A. MEETINGS The Equity Council met 11 times between 1st January and 31st December 2011.

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CHAPTER 8:

APPEALS COMMITTEE

The following members were elected in July 2010 to serve as members of the Appeals Committee for two years: Joshua Le Touzel, Michael MacKenzie, Doreen Mantle, Graham Padden, Tony Robinson. Hearings The Appeals Committee met on 2 August 2011 to hear an appeal by a member against the Council’s rejection of their complaint that Council was in breach of Rule 44.2, Rule 3.1.1.7, and Rule 3.1.1 in relation to the recent Rule Change Referendum. Rule 44.2 states that: “In any case arising as to the interpretation of these Rules, the decision of the Council by a two-thirds majority of those present and voting shall be final and binding.” Rule 3.1.1.7 states that one of the Objects of the union is: “to promote equality for all including through: (i) collective bargaining, publicity material and campaigning, representation, union organisation and structures, training, organising and recruitment, the provision of all other services and benefits and all other activities; and (ii) the Union’s own employment practices; Rule 3.1.1 states: “As a non-party political and non-sectarian Union:” The Decision The decision of the Appeals Committee was as follows: The Appeals Committee concludes that Council’s decision not to uphold the Appellant’s original complaint shall stand. The Complaint was in three parts. 1. That the Council was in breach of Rule 44.2, Interpretation of the Rules. The Appellant chose not to present any additional arguments in support of the written complaint and supporting documents. From the documentation, the Appeals Committee concludes that the General Secretary acted in accordance with Rule 23.1, and that the Council conducted the Referendum in accordance with Rule 40.2. The Appeals Committee endorses the Council’s view that neither of these rules were re-interpreted, and therefore there was no breach of Rule 44.2. 2. That the Council was in breach of Rule 3.1.1.7, Objects. The Appellant presented arguments in support of his written complaint. The Appeals Committee concludes that Council’s actions have not occasioned Equity being in breach of the objective to promote equality under Rule 3.1.1.7. 3. That Equity was in breach of Rule 3.1.1, Objects. The Appellant chose not to present any additional arguments in support of the written complaint and supporting documents. From the documentation, the Committee concludes that Council had not acted in a sectarian fashion over the issue. The handling of the complaint. The Appellant argued that the process leading to Council’s dismissal of his original complaint was flawed, and therefore any procedure following on from that complaint could be deemed invalid. After a lengthy discussion with both sides, the Appeals Committee concludes that the regulations as laid down by Council have been properly adhered to, and therefore the process has not been compromised. Recommendation It was accepted by both sides that Council has in the past made clear its support for one side of a referendum question but that, in supporting a campaign for a YES vote, the conduct of this referendum departed from previous practice. Whilst rejecting the Appellant’s complaint, and recognising that Council was not in breach of Equity’s rules, the Appeals Committee is concerned that there are members who feel that the Council’s presentation of the issues was not fair to those arguing for a NO vote. We believe these changes in the way the debate is presented should not become a precedent without further discussion within the union. Tony Robinson (Chair), Graham Padden (Vice Chair), Joshua Le Touzel, Doreen Mantle Michael MacKenzie (not present at the hearing)

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CHAPTER 9:

NATIONAL, AREA AND SPECIALIST COMMITTEES A. NATIONAL COMMITTEES i. Northern Ireland

CHAIRMAN’S REMARKS Normally I would address my initial remarks on the issues surrounding members’ employment and the need for greater investment, particularly in Film and Television production. However I want to focus attention on Equity and the changes taking place to the Union’s structures. For a long time most of the membership has been passive receivers and there has been an over reliance on the work of the National Committees and the Equity Council. Recently the Union has embarked on a consultation process, partly through financial necessity but also looking at whether the democratic structures we have in place serve the needs of a Union in the 21st Century. Part of that is how members interact with the Union, ensuring that the views of the majority are being listened to. Equity has never been a Union like other Industrial unions and in many ways that has served us well. However we have also allowed ourselves to be overly reliant on staff and others and it is good that more recently the Union has embarked on campaigns aimed at member involvement. We need to organise more and all of us need to be involved more. It’s vital that Equity is a membership led Union and that means all of us participating in the structures of the Union. The NI Committee will continue to represent you but we need to have more involvement through the Branches which in turn should give the Union the direction it needs. Get involved, be more active and let’s work together to ensure we have a strong voice both in Northern Ireland and throughout all of the Unions structures. As ever I want to thank my colleagues on the Committee and our Councillor Maggie Cronin for ensuring we have a voice in the Union and also to our Secretary and the Staff who provide the support and representation in both the campaigning and Industrial issues that take place throughout the year. STAFF REPORT The Northern Ireland Committee elections took place last year and we have a full committee of nine that includes new members Alan McKee, Lynne James, Louis Rolston, Christina Nelson and Jimmy Doran. In welcoming them the current Chair Al Logan noted that they have joined in difficult times given the economic climate with cuts to the Arts in Northern Ireland and the BBC announcing a 20% cut in its funding. However the Union like other Unions is campaigning to ensure that any cuts are fair and we have enjoined with the ICTU and the TUC on its campaign “There is a Fairer Way”. The BBC has given us a commitment that the cuts will not affect Drama Production, and we are lobbying them to produce and commission more local drama. In that respect we have met with the NI BBC Controller Peter Johnston, BBC Films in London, NI Screen and (with the ICTU) we met with the Minister for Culture, Carál Ni Chuilin MLA. All of this is a part of a wider campaign to argue for more Film and Television Production in Northern Ireland and to ensure that it’s on the basis of proper contracts and with members who live and work here. The issue of proper contracts has been on the agenda for some time and in September we heard from John Barclay that PACT, the organisation for independent producers, have agreed that the PACT/ Equity contract can be used for low budget film production in the South of Ireland, which not only helps us but assists our sister union, Irish Equity, who are in dispute with Screen Producers Ireland. We also heard from John on the work of the Contracts Enforcement Officer and the negotiations with the major film companies who have paid over to Equity some 13 million pounds in royalties to be distributed through our collection agency BECS. Who says Unions don’t matter! The Chair is right of course in that a Union is only as strong as its members and without the active participation of our members we will be as a Union the less effective for it. That’s why it’s vitally important that members involve themselves in the democratic structures and reinvigorate the work of the General Branch in particular. It is difficult particularly in the current climate but there are issues worth campaigning for and it is in all our interests. Agents in Northern Ireland continue to be a source of News and during the year Patrick Duncan was given a prohibitive order from operating as an Agent for 8 years. Similarly Actors Ireland ceased to trade and currently we are pursuing the Agency for money still owed to members. INDUSTRIAL REPORT The success of GAME OF THRONES continues to be the dominating nucleus of television production in Northern Ireland and we met with the production team during 2011. It is an HBO production and it is on the Equity/ PACT Contract and members in Northern Ireland are getting work from it. It is a multi million pound production and the whole Economy benefits from it. There are rumours that it could move elsewhere, including the Republic of Ireland to take advantage of the tax concessions. We have no basis for that but we need to be wary and campaign to ensure that it remains for as long as it’s part of HBO’s production plans. We will be producing a

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postcard campaign for Film and Television production in much the same way as we did during the year for the NI Assembly Elections. During the year Stirling Television produced 6 Degrees which was a six part series and there could be another following on from this. We were involved early in the process with them and BBC NI and it was on the Equity/ Pact contract unlike the Green Inc production of Sketchy which was not. Given that it was a BBCNI Commission we met with them and we have an agreement that it will not happen again. Unfortunately we only got involved after contracts were signed, so it’s important that we hear from Agents and members when productions are at an early stage. The BBCNI have given us a commitment that any television commission from them will be on the PACT Contract. We also had heated discussions over the Film production of Good Vibrations which was again filmed on a non standard agreement. We have raised the issue with the Minister as well as other funders. We also took the issue up with BBC Films at White City in London. Resulting from the final meeting we now have a guarantee from the BBC that a fund will be given to pay for Secondary income streams for members. Part of the problem still lies with productions being filmed in the Republic on buyout contracts as standard. Hopefully the introduction of the PACT contract will change that culture. As a another reminder that we have the talent in Northern Ireland it was good to see the short film The Shore, starring Maggie Cronin, Conleth Hill and Ciaran Hinds, being nominated for an Oscar. In Theatre the new Agreement with the Lyric is still having teething problems but we are working through it whilst meeting with every cast and talking directly with them. The biggest plus is the fact that 57 Actors have been employed there between openings in May until the end of the year. Some of them have been in more than one production, but essentially that is an outstanding statistic along with a full Stage Management Team. The opening of the MAC is imminent and already it has given a commitment to co productions and employment for local talent. Throughout the year we have met with production companies and casts alike, Kabosh, Tinderbox, GBL Productions, Ransom, Greenshoot, Big Telly, Ulster Theatre Company and The Millennium Forum to name but a few. The Arts like many other aspects of the public sector have also had their budgets cut and we have campaigned with our sister unions through the ICTU against the cuts and will continue to do so. Despite the cuts The Lyric’s production of the Crucible received five nominations in the Irish Times Theatre Awards; Frankie McCafferty received the best supporting actor award for The Seafarer; Tinderbox also received a nomination for one of its productions and David Ireland wrote a new play commissioned by and produced by Tinderbox and was awarded the prestigious 2011 Meyer-Whitworth award for new best play. More recently Kabosh also won awards at the Arts and Business Awards. Big Telly toured to Scotland and to London’s West End. Again all of this underlines the fact that what we do not only matters but is good. We need to continually remind Politicians and Funders alike that Theatre Matters and as an Industry we are good at it so stop the cuts. We were glad that during the year we also assisted members who are collectively known as Clown Doctors and work within hospitals. They were being collectively re-contracted and in difficult negotiations we managed with them to ensure that that work continues despite the cuts within the Voluntary sector. MEMBERS OF THE NORTHERN IRELAND COMMITTEE Al Logan - Chair, Maggie Cronin – NI Councillor, Frankie McCafferty – Vice Chair, Sheelagh O’Kane, Jimmy Doran, Sarah Mackeever, Alan McKee, Louis Rolston, Christina Nelson, Tara Lynne O’Neil The NI Committee in line with other Committees had elections in June 2011 and we would want to thank those members who stood down for all the work that they gave to Equity over the years. They were Emma Little, Abi McGibbon, Lucy McConnell and JJ Murphy.

ii. Scotland STAFF REPORT 2011 saw a political landslide in Scotland with the re-election of the SNP with a substantial majority. This was an outcome which the rather complicated version of PR used in the Scottish Parliament was supposed to stop happening. The Liberals collapsed, the Tories reduced slightly but Labour suffered the biggest losses. Politically the landscape will be dominated for the next couple of years by the moves towards an independence referendum. However, economically the Scottish government is now being forced to pass on the spending cuts from Westminster. Fortunately Cultural Spending has been largely protected unlike in England. Creative Scotland is now a year old and it is still not clear what sort of body it will be. On some issues it appears refreshingly straightforward but on others it has yet to show its hand. As 2011 drew to a close, a fundamental review of Scottish theatre was being undertaken by Christine Hamilton for Creative Scotland. The fear is that, now that the National companies are funded directly by Government, theatre is the biggest area of expenditure for Creative Scotland. If resources are to be reallocated to meet new and changing priorities, the bigger budgets would expect to be the casualties. As far as the majority of Equity members are concerned, the results of the theatre review will determine how supportative Creative Scotland really is to the artists trying to make a living in Scotland. At the STUC this year, Natasha Gerson fulfilled the role of Chair of the Women’s Committee culminating

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in her chairing the Women’s conference. We believe this is the first time a member of Equity has chaired a major conference at the STUC or the TUC and the whole union should be justifiably proud of Natasha’s achievements. It was also symbolic that she was able to present the meritorious award to Kate McCall, another first for Equity. In the world of theatre two new female Artistic Directors were appointed, Orla O’Loughlin at the Traverse and Rachel O’Riordan at Perth. Both appointments have been greatly welcomed – especially as they go some way to redressing the gender balance amongst Artistic Directors but, at the same time, the world of Scottish theatre should do more to develop talent living in Scotland to ensure that people working in Scotland have a credible chance of developing into future leaders. Last year’s motion to the ARC from the Scottish committee caused much debate at the ARC and was eventually passed. Much preparation has been undertaken and the Film, TV and Radio section of this report is a discussion paper that was used as the start point of a meeting of the Scottish committee with the General Secretary, Christine Payne and Stephen Spence, AGS. As a result of this the committee are going to devote a significant amount of time in 2012 to a campaign calling for more tv drama to be produced in Scotland using the talent that lives here. All members will be invited to contribute to this campaign. THEATRE NTS/Equity Agreement Minimum rates of pay from 5/04/10 are as follows:- Rates to be reviewed annually Minimum Performers Salary

Stage Management Minimum Salaries Stage Manager / Company Stage Manager Deputy Stage Manager Assistant Stage Manager NTS Development rate (Performers and Stage Managers) Walking Understudies’ Salary (to be raised to the Performer’s Minimum in any week they perform) Understudy Obligation (Minimum per week) Performance payment (per show) for performer with understudy obligation Relocation / Commuting Allowance: to cover 7 days of transport costs / travel time/ meals/ accommodation to relocate or commute from home to company base during rehearsals if company base is further than 25 miles from home address. Also to cover 7 days of transport costs / travel time/ meals to commute from home to performance venue further than 25 miles from home address , if choosing to make own way to venue, and not required to stay over night. Touring Allowance: to cover 7 days of meals and accommodation, if required to stay overnight whilst on tour, and if making own arrangements

£530.45 £530.45 £477.41 £424.36 See Development rates card £424.36 £30 £30 £140 per week

£255 per week

Away from base Allowance: to cover meals if the Artist ( not in receipt of £15 per day subsistence) is required to perform / rehearse at a place of work more than 50 miles from designated company base but is not required to stay overnight Daily Meal Allowance if tour accommodation provided by NTS Where full catering facilities provided £10.50 per day If Catering facilities are not available: Breakfast provided £15 per day Breakfast not provided £21per day Push / Pull (per week) Flying pre contractual consent –put on contract (per week) Head Girl/Boy responsibilities (per week) SM in costume (per performance) SM prompt copy for other management (minimum) Supernumeraries (per hour) Driving Cast Responsibility ( £12.50 for first 3 hours then £4.20 for any part of an hour thereafter)

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Creative Scotland launched a fundamental review of Scottish Theatre towards the end of 2011. Equity’s submission was based on a paper included with 2010’s Annual Report charting the decline in productions at Scottish theatres from 1989 to 2009. All eyes will be on the outcome of this review which is expected to be announced in May 2012. Pitlochry Festival Theatre moves into a new era as in 2012 it will not be funded by Creative Scotland. This is bound to have an effect on the number of actors employed and the length of their employment. However the 2011 season was successful and successful for Equity too as by the end of the season we had 100% membership, primarily as a result of additional payments for members for playing musical instruments. Elsewhere in Scottish theatre Oran Mor continues to grow and grow and the difference between the Oran Mor agreement and our other theatre agreements gets less and less. SCOTTISH BALLET See Live Performance section VARIETY The Scottish Variety Branch continues to meet regularly but attendance at branch meetings has not been good with some meetings being inquorate. However the branch’s finances are healthy. Future branch meetings will be publicised in the Journal. BRANCH OFFICIALS: Chair: Eva Lorraine Vice Chair: Sandra McFadden Secretary: Linda Rifkind Asst Sec: Little Black Stray Cat Treasurer: Elsie Kelly Adams PRO: Kirk James Committee: Silly Billy, Scott Allan, Vince Etkins, Prince Rajah, Janey Danielle TV, RADIO & FILMS Discussion Paper on Broadcasting for 13/07/11 Situation in Scotland re work The feeling amongst members in Scotland is that they do not get a ‘fair crack of the whip’ regarding jobs in broadcasting, especially drama. Few dramas are produced in Scotland and of those that are, the perception is that all too often the main parts are cast ‘down south’ and the smaller parts (the coughs and spits) are sometimes cast here. The technology required to make films and TV programmes is much more easily available. As the analogue signal gets withdrawn across the UK, Scotland is now completely digital. Audiences have fragmented onto different Channels and are becoming increasingly sophisticated, watching programmes not available on the old analogue signal to viewers in Scotland but now available through the digital terrestrial or satellite. There is a greater interest in broadcasting from a Scottish perspective as opposed to a UK or London based perspective. The interest in Broadcasting comes from the new circumstances created by having a Nationalist Government in place in Scotland, now re-elected with an unimagined majority. In the last Parliament, the minority SNP administration sponsored a Broadcasting Commission to look into the whole range of broadcasting in Scotland. Many people expected it to follow the SNP’s previously argued line that all assets North of Hadrian’s wall should be repatriated to create the Scottish Broadcasting Corporation. However the Broadcasting Commission argued that the Scottish broadcast sector was part of the wider UK industry as opposed to taking a separatist line. This resulted in a very balanced report recognising the potential of the broadcast industries in Scotland and the historic deficit of Scotland’s share of UK spend when compared to population. It achieved cross party support, (possibly because nobody imagined there was any prospect of it being acted on. http://www. scottishbroadcastingcommission.gov.uk/news/finalreportnews.html The main recommendation of the report is the creation of a Scottish Digital Network. Many consider this idea exciting as it may lead to new work opportunities for members. However, if the Scottish Digital Network (SDN) was to ‘broadcast’ only in Scotland, what are the prospects of achieving terms and conditions of employment for members that match the current agreements we have? Also, the proposals to fund this network seem to revolve around taking money from the BBC, akin to the S4C deal. What would the effect be on the BBC and on BBC Scotland? Would the displacement of BBC Licence fee money from the BBC to a Scottish specific broadcaster lead

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to less work for members in Scotland and in the rest of the UK or to more? Scotland Politics: Post Election Chronology of Events. Extraordinarily, the SNP Manifesto 2011(RE-ELECT) makes no mention of what is currently understood by the word ‘Broadcasting’. It does make various references to ‘digital’ and to Creative Industries, (please see notes below), but there is no commitment to a Scottish Digital Network or to wrestling Broadcasting powers from Westminster. However, after the election result and within a very short period of time, broadcasting was firmly on the political agenda. The SNP are clearly emboldened by the sale of their victory. Despite the lack of any mention of broadcasting in the SNP Manifesto and next to no mention during the election campaign, in his speech accepting the Parliament’s nomination of him as First Minister on 18th May, Alex Salmond introduced the desire to establish the Scottish Digital Network, arguing it had cross party support in the previous Parliament. This was one of the six demands for change being made of Westminster (previous statements only had three fiscal demands). The six demands are: greater borrowing power, ability to vary corporation tax, revenue from the Crown commissioners, control of excise raised on alcohol sales, influence over the control of broadcasting and greater influence in Europe. Nearly a month later, in an unexpected statement to Parliament on 16th June, Fiona Hyslop, the Culture Secretary, made the following points. The ambition of the Edinburgh Government’s involvement is now expanding to include the Licence Fee and the regulation of local TV. http://www.scotland.gov.uk/News/Releases/2011/06/16152002 Ms Hyslop has proposed that the Scottish Parliament: • Needs to be able to ensure the establishment of the Scottish Digital Network as a public service broadcaster with a remit within Scotland and with guaranteed spectrum which can make it available to everyone in Scotland. • Needs to be consulted on subsequent television licence fee settlements and the use of that revenue if it has knock-on impacts for Scotland. • Could have a responsibility for, or at least an involvement in, decisions made by the UK Government about local television stations which will broadcast within Scotland. Any such stations could have an impact on the viability of Scottish media companies, for example if they competed for a limited advertising market. Informed speculation suggests that the desire to be consulted over the licence fee is to aid plans to divert some of it to fund plans for Scotland (akin to the S4C deal). Politics: Future Scenarios From a Scottish perspective, the Coalition Government at Westminster looks alien. The electorate has had a chance to comment on it at the Scottish Election and has voted decisively against the Liberals who are now down to 5 MSPs. For some time now in Scotland, the Conservative have been down to their bedrock vote. Despite being a unionist party, it cannot have escaped the Conservatives’ attention that their chances of success at Westminster would improve massively if Scotland no longer sent MPs there. The Conservatives are also well known for being at odds with what they perceive to be a left of centre BBC. So far, the Westminster coalition has agreed to one of the Scottish Government’s requests, that of greater borrowing powers. It is hard to see them ceding control of Corporation tax without expecting major complaints from the North of England. The revenue from the Crown Estates (principally here from the coastal sea bed) may also be a step too far for the UK treasury because, although this is targeting income from renewable energy, oil revenues would quickly come under the spotlight if this were agreed. Excise on alcohol could again cause problems within a United Kingdom but influence in Europe and over broadcasting might be more easily surrendered. If that then led to an emasculation of the BBC, it is hard to imagine the Tory back benchers taking up arms in protest. Developments in Scotland may prove to be to the detriment of the BBC. The challenge for Equity is to have a policy framework which recognises the weaknesses of the current broadcasting structures regarding employment opportunities for our members in Scotland but preserves the strength of the BBC across the UK and as a major world platform. Existing Broadcasters BBC The BBC has invested heavily in Pacific Quay, its Scottish headquarters. It is a state of the art facility but was designed a big glass box before 9/11. It had to be significantly re-engineered after 9/11 to make it bomb-proof adding to the cost. However, BBC Scotland’s programme budget as a proportion of the UK production budget has been under scrutiny

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and should be increasing. In 2008, after a furore over the badging of productions as Scottish when they had little obvious connection with Scotland, the BBC Trust agreed to use the Ofcom definition for an out of London programme instead of their own in house definition. The Ofcom definition requires that: 1. The production company must have a substantive business and production base in the UK outside the M25. 2. At least 70% of the production budget (excluding the cost of on-screen talent, archive material and copyright costs) must be spent in the UK outside the M25. 3. At least 50% of the production talent by cost must have their usual place of employment in the UK outside the M25. This change led the Broadcasting Commission to comment: We then welcomed the announcement from the BBC Trust in May that in future it would be using the Ofcom definition for measuring and meeting the targets for network production. This is not just a matter of semantics. In this year’s annual report from the BBC Scotland Executive,26 network production from Scotland under the more liberal BBC interpretation is valued at £51.8 million. However, using the Ofcom definition, that figure comes down to £31.6 million –a difference of a little over £20 million. (4) There is a perception that BBC Scotland is un-ambitious and has been unable to get major commissions from London. The inability to commission without permission from London is a major handicap. Following submission from Equity the Broadcasting Commission wrote: However, the Commission is deeply aware of the scale of the change that is required at the BBC. The metropolitan culture is firmly entrenched, as is the notion that London is the natural centre of things and the proper location for positions of power in broadcasting. We also know that symbols are important – which is why it is right to make the argument that the BBC should move at least one of its four main national television channels to Scotland. This would reinforce the corporate priority of dispersing commissioning power and send the clearest possible signal of the commitment to change. A UK-wide BBC television channel based and managed in Scotland would be a highly visible and potent symbol of the organisation re-imagining itself as a genuinely UK-national broadcaster. It is also a change which can be made without major organisational disruption and without the need to relocate large numbers of people.(5) The BBC recognises it has problems in the Nations and regions. The BBC Trust’s Review and Assessment 2009/10 (pp15 para 4) http://downloads.bbc.co.uk/annualreport/pdf/bbc_trust_2009_10.pdf Audiences still feel there are weaknesses in how the BBC represents the different nations, regions and communities to other people in the UK; the BBC is taking steps to address them.... However our surveys show that there are still weaknesses in the devolved nations, particularly Scotland and Northern Ireland, where expectations are higher and perceptions of performance lower. This is reflected in the Audience Council for Scotland Review 2009/10 http://www.bbc.co.uk/scotland/aboutus/review/2009_2010/acs/en/ Network Commissioning outside London The Council remains concerned that while the amount of BBC Television made in Scotland increases, the proportion of it which is recogniseably Scottish should do so also. And Portrayal Following advice from Audience Councils across the UK, the Trust initiated a joint project with the Executive to investigate ways in which the BBC might better portray the full diversity of the UK’s nations and communities across its network services, significantly enhancing the cultural representation of the nations and regions of the UK including Scotland. The Council looks forward to progress on this in the year ahead. And BBC One, Two and Four Service Review However there is clearly an appetite for recognisably Scottish drama beyond River City. And Bringing the UK to the World and the World to the UK Major new content with international potential would be more likely.... if the process of increasing network television production in Scotland focussed more on content with recognisably Scottish elements. And finally

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Key priorities for next year: Content in the Nations and Regions Council advised that the Trust ask the Executive to develop a robust long-term strategy for television drama for audiences in Scotland to increase production, stimulate creativity, and broaden the range of drama portraying Scotland to audiences there. Recommendations regarding the BBC Equity is committed by policy to supporting the BBC Licence fee as the best method of funding the Corporation. The Licence fee is increasingly being looked on by politicians as an alternative source of funding for other projects vaguely related to public service broadcasting (qv S4C). Equity does not have a policy opposing the break-up of the BBC because this is not something that has been a realistic prospect until now. Equity should develop policies opposing any attempt to break up or diminish the BBC whilst at the same time challenging the BBC robustly to prove their ambition to show their worth and value to each of the constituent parts of the UK. Specifically this could involve questioning the practice of badging things as Scottish; challenging the extent of casting outside of Scotland for Scottish productions; commissioning returning drama series for UK broadcast that are identifiably Scottish; pushing Ofcom and/or the BBC to include some criteria for the ‘on screen talent’ in their definition of a non London production. Equity has previously adopted a policy supporting the call to have a headquarters of one of the BBC’s television channels relocated to Scotland. Should Equity represent this argument to the BBC Trust? STV STV is the ITV licence holder for Central Scotland and separately for Northern Scotland. The only other ITV licences not owned by ITV plc are Ulster and Channel. STV has been at odds with ITV and has recently lost a court case with the network over unpaid fees for network production. One aspect of this court case was STV’s decision not to show Downton Abbey but to replace it with the home produced Taggart in an attempt to save money. Unfortunately this has backfired on the company in more than one way: they lost the lawsuit (exact details confidential but legal costs alone in 2010 amounted to £3.5m payout reported to be £18m) and when the same episodes of Taggart were networked their viewing figures fell below 3m for the first time and the network commission was withdrawn. Taggart regularly attracts over 750,000 viewers in Scotland. It is hard to understand STV’s business model and hard to see them continuing without the goodwill of the ITV Network. They have tried to get themselves reclassified as an ‘Independent’ but were unsuccessful. They have tried to establish themselves as a production centre but have lost their network commissions for drama (principally Taggart and Rebus). They have a track record of producing Scotland only dramas, but it is unclear if these will continue. STV is investing in ‘microsites’ and ultra local newsbreaking the broadcast region into much smaller (city or town sized) units for news and current affairs. This model has severely limited ability to support broadcast drama. Equity has concerns which we are addressing about the STV archive being on Youtube. Channel 3 Licences may be up for renewal in 2014 and there is uncertainty over the cost and value of the Channel 3 licences. Recommendations regarding the Channel 3 Licence in Scotland There is limited leverage over companies such as STV which are ruled almost exclusively by market forces. STV plc may not wish to bid for the Channel 3 licence for Central Scotland and Northern Scotland in 2014. Also, there is a body of evidence that suggests that the Channel 3 Licence will have little value in the digital world, its main asset being its position as Channel 3 on the electronic programme guide (EPG). The ITV network (as opposed to ITV plc) has an implied responsibility to serve the whole UK. Could (should?) Equity seek meetings with the ITV Network to talk about the importance of drama production and then the need for proportional representation in drama of the nations of the UK. Could (should?) Equity seek a meeting with Ofcom to express our concerns in this area and to seek an understanding of the future of the Channel 3 Licence. Equity may wish to take a view on developments here, especially if the Public Service Broadcasting obligations are watered down further. CHANNEL 4 Channel 4 has a public service remit, is in competition with other broadcasters for advertising revenue but is publicly owned. Despite having an office in Glasgow and unlike BBC 1, BBC 2 and ITV it has a UK wide identity (it started broadcasting digitally to the whole of Wales for the first time in March 2010!). Channel 4’s Annual report for 2010 includes the text below:

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http://www.channel4.com/media/documents/corporate/annual-reports/Ch4_Annual_Report_2010_FINAL.pdf pp16 In 2010 we increased both the value and volume of first-run originated content on the main channel that comes from the nations and regions of the UK. Across the channel portfolio, we spent £125 million on companies based outside London. A particular priority was to expand supply from Scotland, Wales and Northern Ireland. Thanks to major commissions including 4thought.tv (Belfast), That Paralympics Show (Cardiff) and Frankie Boyle’s Tramadol Nights (Glasgow) our expenditure in the Nations accounted for 4.5% of our first-run originated spend on the main channel (exceeding our 3% quota) and 11% of our portfolio spend outside London. This was a significant increase from 2009 – with an additional £4.4 million spent across the portfolio on projects in Scotland alone. Recommendations regarding Channel 4 Could (should?) Equity seek a meeting with Channel 4 and, amongst other issues, lobby them to increase their programme budgets to reflect the proportion of the population who live in Scotland? Other Broadcasters including CHANNEL 5/SKY As has been mentioned above in reference to STV, there is limited moral pressure than can be brought to bear on those companies who have a purely commercial focus and are not in receipt of public money or who do not have a public service obligation. These companies have a severely limited track record of production or employment in Scotland. Recommendations regarding other broadcasters Equity could (should?) challenge these companies about the employment opportunities provided by drama production that they offer for members in Scotland. Indigenous Languages across the British Isles Broadcasting has been seen as a vital tool to help resuscitate or preserve the indigenous languages of these islands. S4C started broadcasting on November 1st 1982 as a dedicated Welsh language broadcaster. BBC Alba was launched on September 19th 2008 as a dedicated Gaelic language broadcaster. Unlike S4C, BBC Alba is a joint venture funded by BBC Scotland and MG Alba (which is wholly owned by the Gaelic Media Service). In Northern Ireland Irish Gaelic and Ulster Scots both featured in the Good Friday Agreement and different arrangements exist to support them through TG4 (an Irish channel) and BBC NI. The state of the native languages in Northern Ireland, Scotland and Wales are all very different so like for like comparisons are very hard. The population of Scotland is 5.2m of whom 58,000 are Gaelic speakers (1.1%). (Scots Gaelic is recognised as a language that is struggling to survive.) In Northern Ireland, 167,000 people claim some knowledge of Ulster Irish (a dialect of Irish Gaelic) which represents some 10.4% of the population. Approximately 2% of the population of Northern Ireland claim to speak Ulster Scots (36,000). However the number speaking it as their main language in their home is negligible. The population of Wales is 2.94m with 611,000 who are Welsh speakers or 21%. The BBC has always had a responsibility to produce programmes in the indigenous languages. It is obviously important to support these languages and there are Equity members who rely on work in these indigenous languages. The move to digital seems to be confirming a slow shift towards dedicated Channels for these languages as witnessed by developments at S4C and BBC Alba. The differing emphases in Northern Ireland, Scotland and Wales may impact on the resources available for English language broadcasting in each country. Previously this may have been especially true in Scotland regarding the BBC but the recent moves of the Scottish Government to dramatically increase the funding for the Gaelic Media Service has altered this perception. However the Government’s Scots Language Working Party Report recently concluded ‘All media organisations, and all agencies in the cultural sector which receive Government funding, should be actively encouraged to develop specific Scots language policies’. (3) In Scotland, the Scottish Government are supporting the newly created BBC Alba. This is funded by MG Alba (the trading name of the Gaelic Media Service which is financed by the Scottish Government,) and BBC Scotland. The BBC currently spends £3.2 million on Gaelic radio content and £2.1 million for Gaelic TV and online. The BBC contributes an additional £2.5 million to BBC ALBA. (BBC figures exclude distribution costs.) MG Alba will apply the majority of its budget (£12.4 million in 2008/09) to the Gaelic Digital Service. However, in 2009/10 653 hours of Gaelic TV were made for BBC Alba and 690 hours were made for S4C by BBC Cymru yet BBC Alba serves a community that is less than a tenth the size of the Welsh speaking community. Interestingly, the funding of the Gaelic Media Service is the responsibility of the Scottish Government (devolved in the Scotland Act 1998) yet, inconsistently, the funding for S4C is reserved at DCMS. This has allowed a situation where the Government in Edinburgh has taken a strong interest in the Gaelic language and has increased the

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GMS’ funding from £12m in 2009/10 to £18m in 20011/12. Equity has members who work in all the indigenous languages of the British Isles. There is no great love of the BBC amongst these communities but yet partnership with the BBC could be said to reduce overheads to allow greater resources for programme making. Recommendation: To increase the possible availability of funds, Equity adopts a policy of advocating that responsibility for the indigenous languages of the UK should be devolved to the appropriate National Government, Parliament or Assembly. This should be accompanied by campaigning to release existing funds from DCMS to the appropriate legislature. Conclusions Campaign to maintain the integrity of the BBC and the licence fee as a method of paying for it, whilst making informed tactical local decisions. Campaign to devolve some regulation and funding of broadcasting to increase work opportunities for members. Campaign to ensure the regulation of commercial broadcaster (including ITV licences for Scotland) ensures a Scottish production base. Campaign to get a proportionate spend for Channel 4 in Scotland. Need to focus the debate on the ability to make programmes. No need for duplication of infrastructure/ management. Support the case for a Scottish Digital Network to be funded by Government, not through commandeering on BBC Licence fee. Need to be aware of the threat of audience fragmentation specifically regarding new agreements in the digital world. Notes 1. References to Digital/Creative in Re- Elect, SNP Manifesto 2011 Next Generation Digital Fund to ensure fair access to the digital revolution emphasis on consumers rights as opposed to the production sector. E Skills Placement Programme to help provide work experience for 750 IT work placements. Digital Ambition for Scotland to ensure ‘next generation’ broadband’ available to all by 2020 (with an emphasis on remote and rural access). Access to Digital recycling computer equipment to help access for lower income and community groups, Creative Industries continue to work with Nesta through the Starter for 6 programme and with Creative Scotland through its Creative Industries Strategy. Emphasis on digital gaming to increase exports by 50% over next six years. 2. http://www.dcenr.gov.ie/Press+Releases/2010/RTE+and+TG4+available+in+NI.htm details of intergovernment agreement on TG4 and RTE 3. http://www.scotland.gov.uk/Resource/Doc/346190/0115217.pdf 4. Broadcasting Commission final report 5.13 5. Broadcasting Commission final report 5.21 http://www.stvplc.tv/content/mediaassets/doc/STV%20Complete.pdf Scottish Committee Carol Anders, Andrew Brodie-Frew, Jim Byars, Alicia Devine, Natasha Gerson (Vice Chair), Isabella Jarrett (Vice Chair), Clunie Mackenzie, Michael Mackenzie (Chair), Kate McCall, Sheena Penson, Ian Petrie, William Riddoch, Linda Rifkind, Pab Roberts, Alexander West East of Scotland General Branch The East of Scotland General branch continues to grow. The attendance at regular branch meetings is sparse but the Christmas social in 2010 attracted a large turn out and was a great success. Chair: Vice Chair: Secretary: Asst Secretary: Alan Ireby Treasurer: Colin Scott Moncreiff

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Scottish Councillor Kate McCall Staff in Office Lorne Boswell- Scottish Secretary Drew McFarlane- National Organiser Marlene Curran- Organising Assistant

iii. WALES

GENERAL The development of the new website and new membership database (both of which came into being in April) has made administrative life more efficient. There is still some work to be done on the fluency of email communication but the general improvement was noticeable. There are now three Newsletters per year and these will continue to be produced from the office. The ability to email more specifically now allows any news items to be passed on in between publication dates. The Annual Meeting of members was held in the newly refurbished main hall at Transport House in March and attended by 31 members. As Christine Payne was indisposed through an accident, Martin Brown deputised and spoke about Equity’s part in the major TUC demo in London later that month. Bryn Evans gave a detailed summation of the union’s finances. It was pleasing to note that there was a net increase of 40 members in Wales during the year which is highest increase year on year outside London and the South East. Total membership in Wales stands at 1418 which represents 3.85%.

LIVE PERFORMANCE

The effects of the Arts Council cuts arising from the Investment Strategy were finally felt in April when Gwent Theatr and Theatr Powys ceased to exist as performance units. Gwent is still trading to support the Youth Theatre and there have been small pockets of work but Theatr Powys closed completely. Spectacle Theatre applied for and obtained monies from the Coalfield Regeneration Trust and put on a tour in the autumn and are still mounting community projects. Equity was involved in detailed discussions with the management of all three companies to make sure enhanced redundancy was given to the senior personnel in return for the many years of service most had given to the theatre sector in Wales. HiJinx Theatre was the fourth company affected as its base line grant was cut by about a third and this has caused it to have to completely restructure and change its main focus. Only one professional tour will now be possible per year. A feature of the Arts Council planning was the creation of drama and touring development funds and there are a number of small companies that are emerging with some measure of public funding. These include Black Rat, Fraspestus, Fluellen, Notional Theatre and Shock ‘n Awe. None of these are using Equity contracts. For the first time ever Rhondda Cynon Taff Theatres mounted their own Christmas show and paid Equity rates. Despite these cuts the artistic achievements of Welsh theatre in the year have been considerable and the Edinburgh Festival had a Welsh presence larger than ever with The National Theatre (The Dark Philosophers), Theatr Genedlaethol (Llwyth), Notional Theatre (Fragments of Ash) and Shock N’Awe (Muscle) all receiving critical acclaim. The signature event of the year was The Passion in Port Talbot which featured a cast of thousands, at the heart of which was a core of fifteen professional performers. The international interest which led to both a two part documentary and a feature film led to complicated negotiations. The cuts to theatre were more acute in England and that has badly affected the Welsh National Opera who are losing 15% of their funding over three years. This has led to very challenging discussions for both the Chorus and the Stage Management. These began in June and are still not concluded. The company are looking for more flexibility in working conditions in return for virtually no increase in wages rates. They are also looking to “buyout” both groups for television and other media work. In Variety the situation has not got any easier with venues continuing to close or cut back on live performance. The number of claims, from members who have been cancelled at the last minute because tickets have not been sold and events aborted, have risen dramatically. The total amount recovered for members in the year was £4035.10. This represented the successful conclusion of thirteen separate claims. The Variety Branch has continued to meet monthly in Baglan and attendance has been very consistent. Two fund raising shows were mounted in local clubs and monies raised for charity. Chair: Haze Secretary: Shelli Dawn Treasurer: Cei Phillips

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RECORDED MEDIA

The whole year has been spent lobbying and campaigning on behalf of S4C following the decision by Westminster to cut the central funding and hand over responsibility to the BBC. This led initially to a stand off between the two broadcasters as they negotiated over many months to work out an administrative and financial framework. That was resolved in November and sees S4C continuing with the same resources through until at least 2016. The plain fact however is that the channel faces a real terms cut of upwards of 40% and this can only mean that the amount of output has to be reduced and that union members will be the mainstay of the savings. In July the acting Chief Executive, Arwel Ellis Owen, announced a new programme strategy that put Pobol Y Cwm and Rownd a Rownd at pivotal points in the schedule with only one other Sunday night drama slot and no automatic repeats. This will radically affect the earnings of Welsh speaking members. The cast of Teulu wrote direct to S4C to express their concerns. The management of both main productions i(BBC and Rondo) immediately sought talks with Equity to bring in new working arrangements, none of which were designed to increase earnings to any significant degree. Rownd a Rownd negotiations were completed in late August but the discussions with the BBC are still ongoing. The decision to appoint a former senior officer at S4C, Ian Jones, as the new CEO was broadly welcomed but he did not start work until mid January. The unions will be seeking an early meeting. The biggest media development by far was the opening of the BBC’s new Roath Lock facility in Cardiff Bay. Casualty started work there in September, followed quickly by the second series of Upstairs Downstairs and in November by Pobol Y Cwm. Doctor Who starts filming in February (under BBC contracts for the first time). The studios have many teething problems, not least the parking issue and the canteen facilities, but in due course it will develop as a massive local resource. The production base that has been created in Wales played host to many other series including re-commissions for The Indian Doctor, Being Human and Sherlock. It is ironic however that, at the same time as the new development opened, the unions were opposing 20% cuts to BBC Wales infrastructure that could well affect its ability to commission shows like Baker Boys and drama and sit coms on both Radio Wales and Radio Cymru. The Film Council issued a press release in December indicating support for a number of projects in 2012, which will hopefully lead to a number of full length films. The main release in 2011 was Resistance based on the Owen Sheers novel.

OUTSIDE BODIES:

Federation of Entertainment Unions: There has been more contact than ever between the five main unions who liaised weekly on the campaigning around S4C’s future. There were individual meetings with AM’s and MP’s. There was lobbying at Westminster over the Public Bodies Bill and there were a number of meetings with S4C personnel to talk through strategic planning. In the end much of the lobbying came to nothing but the issue and the arguments were well aired and Welsh politicians were exceedingly well briefed. National Assembly: The report of the Communities and Culture Committee on Access to the Arts was published early in 2011 and made a number of valid and important observations. It has however been very difficult to get these recommendations carried into the new administration that took over in May. Equity issued another Manifesto document in conjunction with the election and it was very encouraging to see our proposals widely accepted and put into party manifestos. One of the most important, namely a review of TIE provision, has still not been acted upon by the new Minister despite prodding from the office. The Assembly also set up a Working Group to look at the situation at S4C and Equity gave written evidence. The final report is due early in 2012. Wales Association for the Performing Arts: The National Organiser has agreed to stand as Chair for one more two year period. WAPA also issued a manifesto before the election and it was very well received, so much so that it was nominated for campaign of the year by the Chartered Institute of Public Relations, but did not unfortunately win. The Theatres Trust: The National Organiser remains on the Advisory Board for Wales and was part of the organising of a Conference in Brecon In March to look at the state of buildings and companies across Wales. Links have also been made with Sustainability Wales to promote the arts as part of the Wellbeing agenda.

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CULT Cymru: The training initiative shared between the four unions is still running and has organised a number of courses of interest to members including one specific stand up impro course in March. A radio drama course is planned for the spring of 2012. There will also be a Creative Industries Fair similar to the one in North Wales in 2010. Creative and Cultural Skills; The sector skills council for the performing arts has had its licence renewed. Its main focus in Wales has been on apprenticeships. Arts Council: As ACW were deaf to the arguments raised by Equity in 2010 over the Investment Review and the break up of the TIE/YPT sector, there have not been any face to face meetings in 2011. ACW has been undergoing major internal reorganisation to shed staff which had predominated.

WELSH NATIONAL COMMITTEE

The Committee met seven times in 2011. The election mid year was disappointing in that it attracted only 12 nominees for the 15 posts. The Committee were well engaged for most of the year on the S4C situation and its motion to the ARC reflected this with a request that Council should consider campaigning around the proposition that national broadcasters should be regulated and managed locally. This was debated in conjunction with a motion from Scotland that called for a Working Party to look at the way in which broadcasting policy was developing in the National Regions of the UK. The WNC motion was remitted and the SNC motion narrowly passed. This led to a joint meeting of all the National Committees in October and the development of a general strategy with different threads depending on the individual needs of the National Region concerned. The WNC accepted that the issue of devolving S4C to the Assembly is one that will have to gestate and therefore identified that the main short term aim was to focus on a campaign around the need for local performers to be seen for local work. This will be further discussed and the proposal is to launch a campaign in the spring of 2012. The Chair of the WNC for 2011-2013 is Terry Victor and the elected members are: Olwen Rees (Vice Chair ), Chris Batten, Phil Evans, Goldini, Eiry Thomas, Beth House, Michael Kelligan, Naomi Martell, Roger Nott, Doc Oâ&#x20AC;&#x2122;Brien. The Councillor for Wales is Julia Carson Sims and she sits on the WNC in an ex officio capacity.

B. REGIONAL COMMITTEES i. LONDON AREA COMMITTEE

The Committee met four times during 2011 to discuss matters pertaining to London. The structure of the committee was changed by Council in time for the new elections of the LAC in July. Four places were to be voted for by the membership, although in the event only three candidates stood for office, and representatives were now to be elected from the London branches. There was an AGM of the London Area in March where a considerable number of issues were the subject of lively debates. A motion went to the ARC in relation to training for members and the remaining motions were sent by the meeting to Council. The LAC will be engaged in Equityâ&#x20AC;&#x2122;s general lobbying work about the cuts following the CSR and, in particular, those affecting the London boroughs. No motions were sent to Council from the Committee during 2011. The committee sent three representatives to the ARC. Members of the Committee to July 2011. Esther Ruth Elliott Peggy-Ann Fraser Barbara Hyslop Edward Pleasance Peter Barnes (London Area Councillor) Jessica Sherman from July 2010, replacing Peter Barnes on the committee after his election as London Area Councillor. Members of the Committee from July 2011. Esther Ruth Elliott Jessica Sherman Mik Scarlett Peter Barnes (London Area Councillor) Plus representatives from the general London branches.

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ii. MIDLANDS AREA COMMITTEE

The Midlands Region covers the Counties of Oxfordshire, Northants, Leicestershire, Warwickshire, Hereford & Worcester, Shropshire, Staffordshire, Derbyshire, Nottinghamshire and Lincolnshire. The Regional office is in Coventry. The region contains 4 branches, The Central England General branch with Secretary Kelley Costgan, and three Variety Branches, Birmingham with Secretary Jim Townsend, Coventry & Leicester with Secretary Sheila Payne, and East Midlands Branch with Secretary Chris Shaw. All the branches play a vital role in bringing members together usually monthly and organising events involving the work and issues of concern and interest to the members in the area. The Midlands Area Committee consisting of Tracey Briggs (Chair), Sally Treble (Midlands Councillor), Sheila Payne, John Brennan, Nigel Harris, Chris Shaw, Mandelea, Kaz Luckins, Jim Townsend, Rob Stanley, Sharon Cannings and Miles Richardson met on 5 occasions including immediately before the AGM at the Crescent Theatre in Birmingham. The Committee, as well as discussing and feeding back to the branches on national issues such as cuts to the Arts Subsidy and actions members can take, has focused through the work of Tracey Briggs the Committee Chair on two important issues facing members in the Midlands. Local casting of actors for work in the main Subsidised Repertory Theatres and the BBC reducing further their base in the Midlands decreasing the work opportunities for all members as actors and Walk-ons in Radio and television drama. Tracey has built a formidable network of activists (not only actors, but writers and technicians in the Midlands) to protest about the planned move by BBC to reduce production in the Midlands, involving M.P’s such as Gisella Stewart, and Birmingham City Council via cabinet member for culture, media and sport Martin Mulanney. Through this network Tracey has highlighted the problems facing the region with work moving away from Birmingham Mailbox to Manchester, Bristol and Cardiff and through Early Day Motions has raised the issue with Midlands M.P.’s. The BBC is now in talks with Birmingham City Council, and the Regional development Agency to develop a media quarter in Birmingham to ensure ongoing training and facilities for continued production in the Midlands. On casting in the Midlands Tracey has made the Birmingham Repertory Theatre and Birmingham City Council aware of the theatres’ poor record of local casting in plays, and the need to travel to London for casting sessions. There is a new clause in the Subsidised Repertory agreement encouraging casting sessions in the place where the production is made if not London based, which came from this campaign. The Midlands Area Committee was also kept informed of nation issues and initiatives by the Equity Council by Midland Regional Councillor Sally Treble, who reported on meeting with M.P’s on cuts to the Arts, the vetting and baring scheme, entertainment Agency licensing. The live music bill and negotiations with BBC, ITV and the independent producers (PACT) on rates of pay. Sally is a member of the Variety Advisory Committee (VAC) and currently chair and also chair of the Walk-on Committee and attends negotiations on behalf of the Union with employers bodies in these areas. The Midlands Area put two motions to the Annual Representative Conference in May 2011. The first was from the AGM calling for local casting sessions in productions based in the Regions/Nations and this was carried and has been implemented in the Sub Rep negotiations. The second motion from the Area Committee called for consultation with the VAC on variety, circus and light entertainment when negotiating terms with BBC, PACT and ITV agreements. This has been undertaken by the relevant departments. The Birmingham Variety branch put forward a motion calling for support for a review of the smoking ban in clubs, pubs and public entertainment venues, but was not supported at the ARC. East Midlands Variety branch put forward a motion calling for Equity, BECTU and Musicians Union to discuss working more closely on employers being put on the Equity “For your special attention” list published in the journal and similar publications by M.U. and BECTU. This was carried and is being implemented through the joint body The Federation of Entertainment Unions (FEU). Members sought legal representation for a wide range of complaints through the Midlands Regional office, from early retirement through injury at Birmingham Royal Ballet, unpaid holiday pay and complaints of not meeting the National Minimum Wage in theatre to unpaid wages/ fees in Theatre and Variety. Between 1 January and 31 December 2011 £10,705.01 had been recovered in theatre claims and £28,225.84 for Variety claims involving 64 claims for members. There are ongoing claims at tribunal level for holiday pay especially in small scale and medium scale theatre companies. At Birmingham Royal Ballet pay was frozen across the company on condition that the company remained at a compliment of 60 dancers due to the Arts Cuts in subsidy and this was accepted by all members of the company as a necessity this year. Visits were made to many higher educational establishments in the region including Oxford School of Drama, Elmhurst Ballet School, Cirencester College, Derby University, Midlands Academy and Matthew Bolton College. Theatre continued to be produced in the region, with Curve Leicester, Playhouse Nottingham, Birmingham Rep, Coventry Belgrade, Northampton and Derby Playhouse all producing plays regularly throughout the year. Although Derby Playhouse is now being taken over by Derby University they have undertaken to continue to produce under the subsidised repertory agreement despite the cuts imposed by the local authority. In television “Doctors” the daytime series continues to be produced in Birmingham and “Land Girls” and “Hustle” were produced on location in the Midlands giving work opportunities to locally based members.

iii. NORTHERN

Area Committee elections were held in the summer with a very encouraging 19 members standing for the 12 places. Members of the Committee who served during 2011 were: Yvonne Joseph (Chair & Councillor) Geremy Phillips (Vice -Chair)

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Stephen Aintree (from July 2011) Anthony Blakesley David Corden Eleanor Dearle Dave Eager Deacon Esq (until July 2011) Ann Loraine Brenda Marsh Fiona Martin (from July 2011) Steve McAvoy (until July 2011) Joy Palmer (until July 2011) Peter Rylands (from July 2011) Roger the Artful (until July 2011) Susan Twist (from July 2011) The Committee was as sorry to see the departure of Deacon Esq, Steve MacAvoy, Joy Palmer and Roger the Artful, as it was pleased to welcome new members Stephen Aintree, Fiona Martin, Peter Rylands and Susan Twist, all except Fiona being elected for the first time. The Committee met four times in 2011 in Sheffield (twice) and Manchester (twice). It considered all matters referred to Area Committees for consultation. It received reports on all relevant industrial matters and in particular the dispute at Hull Truck Theatre regarding artistic leadership and the fight to keep open the Duke’s Theatre Lancaster. The Northern Area AGM was held at The Mechanics Institute in Manchester. The Committee’s motion to the ARC asking that professional artists be given priority in film castings was carried by the conference, as was the Northern Area AGM’s motion which called for the employment of professional performers in the 2012 Cultural Olympiad which would accompany the London Olympics. The Committee was represented at the 2011 ARC by Geremy Phillips, Anne Loraine, and Anthony Blakesley. The Committee received comprehensive reports from its Councillor (Yvonne Joseph) and two Regional Organisers (Nigel Jones NE and Jamie Briers NW), with key issues summarised below: (a) North-East (i) Theatre. The six established building-based repertory theatres West Yorkshire Playhouse (WYP), York Theatre Royal, Harrogate, Stephen Joseph Scarborough (SJT), Sheffield Crucible and Northern Stage produced successfully during 2011. Successful pensions’ surgeries were held by Andrew Barker at SJT and WYP. Pilot also worked on The Subsidised Repertory contract and Brief Candle, Live Theatre, Hull Truck , Interplay, Open Clasp, Pilot, Red Ladder, NTC, Hullaballoo, Unlimited and Vincent Dance produced on the ITC contract. Hull Truck moved most of its work on to the Sub Rep Agreement early in 2011 and our disagreement regarding the removal of the Artistic Director post was never fully resolved although the personal aspect concerning outgoing AD Gareth Tudor Price was settled. Halifax-based Northern Broadsides continued its touring commitments and has indicated its willingness to negotiate a house agreement with Equity. The Contemporary Dance world was represented by Phoenix Dance, Ballet Lorent and Vincent Dance Theatre which maintains a base in Sheffield despite Charlotte Vincent’s migration to Brighton, while Northern Ballet maintained a classical presence in the region. Opera was represented by Opera North, and the region has many touring theatres which have played host to opera, ballet and musical productions from outside the region. There were 35 pantos and Christmas shows in the North East region in 2011/12, some of which were on TMA Rep and Commercial terms or on ITC contracts. But the majority of the commercial shows were on non-Equity contracts. Most were visited and significant recruitment achieved. The theatres to host traditional summer season shows were the Futurist and Spa Theatres in Bridlington, Scarborough and Whitby. The future of the Futurist remains in serious doubt however but will be hosting shows in 2012. (ii) Film, TV & Radio. With Screen Yorkshire based in Leeds being massively scaled down following the Government decision to axe the UK Films Council, the landscape for film funding is changing. Day-to-day contact with ITV continued, and studio meetings were held with Emmerdale members. Equity was ably assisted on Emmerdale by long-serving Deputy John Middleton together with Nicola Wheeler. A successful Emmerdale Pensions Surgery was held in November with Andrew Barker from First Act. Other ITV productions in the region over the course of the year were DCI Banks and Monroe (both Leeds and both visited).

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Independent producers using the PACT agreement have continued to film in the region including Vera (Newcastle), Eternal Law (York and Dewsbury) and The Syndicate (Leeds). Location visits took place on the first two. The Committee remains concerned, notwithstanding the number of mainly one-off PACT projects, at the relative paucity of TV work north of Leeds with the BBC’s Tracy Beaker and Vera being the only series based in or near Newcastle. Beaker also contributed the only direct BBC TV presence in the region and a studio visit took place. Some of the PACT productions mentioned above were made indirectly for the BBC. Equity’s capacity to ensure that all or most productions (in the Midlands and North West as well as the North East) receive location or studio visits during the course of filming has been greatly increased by the addition (since 2009) of recruitment Organiser Andrew Whiteside to the Sheffield office until October 2011 when he moved his base to the Manchester office. (iii) Variety. The four variety branches in the region continue to be active, despite, in the case of North and West Yorkshire Branch, the death in May of its long serving and much loved Secretary, Jackie Ann Provis who is sorely missed. A fantastically well-attended memorial concert for her was held in the summer. The branch has a new Secretary in Valerie Jean Mann (who was previously a Committee Member) and a new meeting venue in Bradford. Attendances are still rather low but the branch is seeking to address this. Humberside Variety Branch continues with some success under Secretary Christie Clifford to hold meeting alternately on the North and South banks of the Humber (in North Ferriby and Scunthorpe). North East Variety Branch continues to be well attended and to arrange popular functions, not least the legendary North East Dinner dance, though the numbers have been down in the last few years. Long standing Secretary Brenda Marsh remains in the hot seat. Attendances at South Yorkshire have steadied but there is still work to do. It too moved to a new meeting venue in February 2011 and Joy Palmer continued as Secretary. The main focus of organiser time all year round tends to be claims against clubs, pubs, agents, promoters etc. Nearly £14,000 was recovered on 37 cases, many involving court action. During the year holiday Centres in the region were visited together with the Scarborough Grand Hotel (formerly Butlins) and a number of other large seaside hotels. A number of circuses toured the region and Greentop remain based in Sheffield where Swamp Circus also maintain one of their bases. Flamingoland and Lightwater Valley in North Yorkshire and Pleasure Island in Cleethorpes are some of the theme parks in the area and offer employment for variety performers and dancers. Recruitment in variety continued to be steady, partly due to the requirement of clubs in much of the region that performers must have public liability insurance, though the figures have slowed since the PLI panic of 2002. Contact was maintained with North East federations of concert secretaries, The Musicians’ Union, and The Agents’ Association, via the North East Entertainments Council and separately. (iv) General Branch. Yorkshire Ridings General Branch (formerly Leeds and District) has continued to be active and held its AGM in September at the West Yorkshire Playhouse. Its February meeting in Sheffield was pleased to welcome President Malcolm Sinclair who was performing in Racing Demon at the Crucible. Jo Egan stepped down as Secretary to be replaced by experienced committee member Audrey Pointer, and Anthony Blakesley continued as Chair. (v) Students. Visits were arranged to drama and dance students at Hull, Sheffield and Doncaster Colleges, and Studio La Pointe in Leeds. A major presence was maintained at the National Student Drama Festival in Scarborough in April. (b) North West LIVE PERFORMANCE Subsidised Repertory Theatre – 2011 has been a tough year for subsidised theatre as funding settlements from the Arts Council, Local Authorities and other funding partners, began to come clear. However the picture for theatre in the North West of England has in many ways held up well in the face of such challenges. Each of the nine Repertory Theatres (Manchester Royal Exchange, Library Theatre Manchester, Liverpool Everyman, Liverpool Playhouse, Oldham Coliseum, Bolton Octagon, The Dukes, Lancaster, Stoke New Vic and Theatre by the Lake, Keswick) continued to focus on their home grown productions and 2011 saw the emergence of a new Theatre Company planning to move on to the Equity/TMA Subsidised Repertory Agreement – Chester Performs. Theatre by the Lake, Keswick welcomed the announcement of a 5.8% increase in its Arts’ Council funding over the next three years. Their 2010 artistic programme included an additional production to start the New Year, which was co-produced with The Dukes, Lancaster and continued to strengthen their home produced portfolio,

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which included their Summer Repertory Season, engaging an acting Company of 12 and stage management team of 5, between April and November. The increased investment from the Arts Council has partially offset from reductions in funding from other partners and a difficult trading climate. The Liverpool Theatres’ Trust, which is responsible for both the Liverpool Playhouse and the Liverpool Everyman saw their Arts Council funding cut by 11% in real terms over the next three years, but the biggest disappointment came from the City Council’s decision to cut 20% from their grant to the Trust, just three years after the City celebrated its status as The European Capital of Culture. In the short-term, production budgets may be eased by the fact that The Everyman completed its final production in 2011, ahead of the multi million pound redevelopment, which will see the theatre go dark until 2014. Whilst the commitment made to this redevelopment is welcomed it should be note that this will inevitably lead to less employment opportunities for Equity members, whilst the Company produces out of a single venue – The Playhouse. The New Victoria Theatre in Newcastle Under Lyme, produced 9 productions in 2011, 4 of which made up their summer repertory season. This was the first time the company had produced a repertory season in many years. 2011 also saw the departure of Nick Jones, as the Executive Director of the New Vic and the arrival of Fiona Wallace. The funding settlement it received from both the Arts Council and the Local Authorities has led to a redundancy from within their stage management team as a result of a move towards more co-productions with other theatre companies. Bolton Octagon continues to present an ambitious programme of home produced work, under the artistic leadership of David Thacker. The Octagon continues to be keen on building community involvement in its programme of work and there have been on-going discussions between Equity and The Octagon about how this aspiration can be met within Equity’s Council Guidelines of Student, Community and Youth Group involvement in professional productions. The Theatre continues to receive good financial support from Bolton Council and the Arts Council. The Oldham Coliseum has also continued to receive good financial support from both the Arts Council and Oldham Borough Council, which has enabled it to continue to offer a broad mix of home produced work as well as smaller scale touring productions. The 2011 Christmas production of Dick Whittington was the final production, before the theatre went dark ahead of a £1.5 million refurbishment during 2012. The Oldham Coliseum Theatre Company will still continue produce work through 2012, at The Grange Theatre, The Lawrence Batley Theatre Huddersfield and a site specific play in Alexander Park. It has also been another good year for Manchester’s Library Theatre Company, as it continues to work in partnership with The Lowry and The Zion Arts Centre, following the move out of the central library. The most ambitious piece of work was produced in the summer as a site specific production of Hard Times, at Murrays Mill in Ancoats. In addition to the 18 strong professional company, the production was supported by a community company in accordance with the Council’s guidelines. 2011 also saw Manchester City Council commit to a new £14 million home for the Library Theatre Company in partnership with The Cornerhouse, which will open in 2014. Chester Performs completed its second successful season of open air theatre in Grosvenor Park Chester, using a form of the Equity/ITC contract. The emerging Company gained status as a National Portfolio Organisation in the 2012-15 Arts Council funding settlement. After discussions, led by the Equity Deputy, Chester Performs met with Equity and agreed that future productions would be produced using the Equity/TMA Agreement. It also appears that the City Council, having acquired the Odeon Cinema, will be looking to bring building based produced theatre back to Chester for the first time since The Gateway closed in 2007. However, because of the financial climate they are currently working to a completion date of 2015. The biggest development in the subsidised repertory sector in the North West in 2011 followed the Arts Council’s announcement that The Dukes, Lancaster, was to receive an additional 11.1% cut in its funding between 2012 and 2015. This cut came on the back of 50% reduction back in 2008. Between 2008 and 2011, The Dukes invested its reserves and applied for project funding to enable it to maintain the production of five plays per year, including their promenade play in Williamson Park. Shortly after the announcement of the further 11.1% cut, Joe Sumsion, Artistic Director announced that owing to its funding position The Dukes would only be producing 2 instead of the 5 productions it had maintained for the previous three years. As a consequence two stage management posts were being made redundant. In response to this announcement Equity called an open meeting on the 9th June 2011, at The Gregson Arts Centre, Lancaster, at which 30 Equity members were present. The meeting discussed their concerns regarding the announcements that had been made and significantly, what they could do to campaign and raise awareness of the issue. Following this meeting, a campaign committee was establish, led by Peter Rylands, but also included Equity members, Sue McCormick, Amy-Rhiannon Worth, Sandra Blue, Becky Hindly and Helen Longworth. The Campaign Team mounted a campaign aimed at asking questions of the key stakeholders, namely The Board

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of The Dukes, The Arts Council and The Local Authorities (City and County Councils). The campaigning activity included: • Interviews on BBC Radio Lancashire Breakfast Show highlighting the campaign • Articles in The Lancaster Guardian • Articles in the Lancashire Evening News • Articles in the Morecambe Visitor • Mention at the Lobby of Parliament and launch of the Lost Arts Website • Letter published The Stage • Letters published in the Morecambe Visitor and Lancaster Guardian. • Letter writing campaign to local MPs • Letter writing campaign to Local Councillors and their senior officials. • Letters to North West Office of the Arts Council • Press releases issued to local, national and sector media • Creation of a campaign page on Facebook • Campaign email address created. • Questions to Alan Davey through the General Secretary. • Letters sent to members who have worked at the Dukes over the years. • Meeting with Louise McMullan – Head of General Secretary’s Department. • Visits from Equity President, Malcolm Sinclair, which included leafleting the park show audience. The Campaign, to date, has hosted 4 open meetings, speaking to over 100 Equity members. The highlight and biggest achievement of the campaign was that each night, throughout the 7 week park show, a number of the campaign team were present giving out leaflets to audience members, encouraging them to write to the North West Arts Council about the importance of the Dukes to them, urging them to reverse their decision. This effectively meant Equity talking to 10000 theatre goers encouraging them to support their campaign and resulted in the Arts Council receiving more than 400 letters of support for The Dukes. This subsequently led to a meeting of a delegation from the Campaign Team to meet with the Arts Council, following which the campaign team received a commitment from the Arts Council to the future of The Dukes as a producing theatre company. In turning their attention to the City Council, the Campaign Team, through a letter writing campaign to City Councillors, highlighted the lack of local arts leadership and strategy which it was understood impacted on the ability of The Dukes and other arts organisations to secure funding. The Council subsequently revisited an old arts policy with a view to modernising and updating the policy. On 15th November 2011, Joe Sumsion, Artistic Director at The Dukes, announced that they were committed to producing three shows as a minimum throughout 2012 and that they were planning to keep their production workshop. As the Campaign continues, the team can reflect on some real achievements, not least in terms of reversing the decline, but also forcing each of the key stakeholders to think harder about the decisions they make, which in turn have an impact on the work opportunities for Equity members. Regular and routine cast visits have continued to take place throughout the year at all the producing theatres in the North West, with positive returns in terms of recruitment and retention, along with the election and support of Equity Deputies. Visits have largely focused on the challenges presented by the current funding climate. In addition, reoccurring industrial issues in the region have included the hire of musical instruments, the use of community/youth groups and students and the use of London as a rehearsal base for regional productions. Independent Theatre Sector In the Small Scale Sector the M6 Theatre Company and The Action Transport Theatre Company, Horse and Bamboo, Reveal Theatre Company and 20 Stories High still continue to actively produce and work using the ITC/ Equity contract. Each company of these companies were affected by the funding announcements from the Arts Council in March. The sector will provide a focus for Equity’s Organising activity throughout 2012. Equity has had a presence at the various theatre festivals taking place in Manchester throughout 2011, including ‘The Not Part Of’ and the ‘24:7 Festival’. Each of these has provided opportunities for members to work and seen the development of new writing and the emergence of a growing fringe theatre scene within Manchester. Significantly, the festivals provide alternative opportunities for Equity to campaign with its members on issues such as Theatre funding. Commercial Theatre In the commercial sector throughout 2011 a number of cast visits took place with a number of companies visiting theatres in the North West. Perhaps one of the biggest developments was the commitment from some of the big commercial producers to open shows in Manchester ahead of transferring to the West End. In 2011, Ghost the Musical opened at The Manchester Opera House, before transferring to the West End.

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In Pantomime, 2011 proved to be a difficult year, with 32 professional companies being visited. Non-compliance with the Equity/TMA Commercial Theatre Agreement is still prevalent in the North West of England, with one pantomime using the Agreement. Variety All three variety branches continue prosper to varying degrees under the leadership and direction of their hard working officers. The Manchester Variety Branch continues to be very active with good attendances at their monthly meetings, which provide a useful opportunity for members to discuss and debate the issues that are affecting them as performers. In November their meeting was addressed by John Barclay and Ian Bayes about how Equity is seeking to meet the challenges in an ever-changing recorded media environment. In addition to their annual outing to Blackpool, the branch also hosted a number of social evenings throughout the year. Members of the branch continue to play an active role through the various Area and Specialist Committees of Equity. The Blackpool Variety Branch has continued to play an active role in all aspects of Equity’s business raising the profile of Equity amongst members working and living in the Blackpool Area. The Branch supported Equity at the Keeping it Live Showcase in Blackpool in 2011. They have actively pursued involvement in the Recruitment and Retention activities of the Union and they are working with the Recruitment Organiser in the North to encourage Hoteliers and Club Officials to engage Equity members on the back of the public liability cover our members carry. In November 2011, the Branch hosted an open evening at The Galleon Bar, Blackpool aimed at encouraging the recruitment of new members, as well as promoting the benefiting of using Equity members to bookers and agents. They have also produced a series of Variety shows, to fundraise for the branch and other local charities, including funds for committee member, Dave Redman, who sadly passed away in 2011. The Merseyside Branch has had a revival in its fortunes, which has coincided with its change of venue following the closure of the Everyman Bistro. The number of members attending meetings has increased and the branch officers have worked hard to reverse the decline in branch participation. Equity attended many events throughout 2011, aimed at organising and recruiting variety members; Keeping it Live National Variety Showcase, Blackpool, Magicians’ Convention Blackpool, Merseyside Dance Initiative Industry Event, Tameside and District Concert Secretaries AGM, Agents Association Meeting, North West Burlesque Society and The International Brotherhood of Magicians’ Convention, Southport. Claims – 2011 saw work undertaken on 87 claims (57 arising from variety and 30 arising from general areas). Out of these 36 have seen full recovery, totalling £64034.65, with work continuing on 30 more. Two of these claims were referred to Equity’s solicitors with the remaining claims all being dealt with in house. RECORDED MEDIA Television Production continued to increase in the North West in 2011, coinciding with the continued development of Media City UK in Salford. The migration of BBC Children’s Television to Media City UK, along with the flexible production units that the development facilitates has enabled the region to build on what was already a well-established production base. Visits have taken place on the following productions; Mr Bloom’s Nursery, Zingzillas, Body Farm, Two Pints of Lager and a Packet of Crisps, Land Girls, Shameless, Waterloo Road, The Fuse, Life Stories, Hollyoaks, Coronation Street. The Coronation Street forum has met four times this year covering a wide range of workplace issues. 2011 also saw the start of the building work for the new home for Coronation Street as part of the Media City UK development. Pensions days have also taken place on Coronation Street and Hollyoaks, which is an opportunity for members to speak with Andrew Barker from First Act about their pension and for Equity to draw on this benefit as a way of recruiting members. Both days proved incredibly successful to all parties. Waterloo Road finished filming its final series from its Rochdale base ahead of the move to Scotland and Ideal also completed its final series. The North West continues to be a lively production base for television companies and over as Media City UK continues to develop, so will the number of production days in the North West. Local members have started to discuss how they can best benefit from the development. General Branches The North West of England Branch has had a positive year and has focused a lot of their efforts on reaching out to new members and building participation in the branch. As a result, attendances at branch meetings have shown a steady increase and for the first time since 2006 elections were necessary for the branch committee. The Branch engaged with the theatre festivals in Manchester, including the 24/7 Festival, and awarded the Vicky Allan Memorial Award for the best new single act play at the Summer Social in August.

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The Isle of Man General Branch has continued to enjoy positive attendances at meetings, under the leadership and direction of the branch officers. The branch has focused on improving relationships between Isle of Man Films and the branch and has enjoyed a much more positive relationship. This has lead to greater consideration by production companies filming on the Isle of Man to offer castings on the Island. In 2010, saw the emergence of a group of activists in Liverpool who were keen on created a Liverpool and District General Branch. The project lost some momentum in early 2011, but re-emerged towards the end of 2011, with around 100 members putting their names to the creation of the new branch. Similarly, on the back of The Dukes’ funding campaign there a has been a call for a North Lancs and Cumbria General Branch and a steering committee has been put in place to drive this project forward. Members from both of the potential new branches have attended branch officer training in Liverpool and they hope to become formally constituted in 2012. Student Visits A number of student visits have taken place across the North West throughout 2010 raising awareness and recruitment to Equity’s student membership scheme and also where appropriate informing graduates of the benefits of full Equity membership. Whenever possible the North West Regional Organiser has been accompanied by an Equity member, particularly where the member is a graduate of a particular school. When requested, Specialist staff have accompanied to give in-depth details on issues as requested, for example on Tax, National Insurance and Benefits. It is hoped that this will not only encourage students to participate in the Equity student membership scheme, but also offer a way for Equity Student members to become more involved with Equity campaigns. In addition to the usual programme of visits, new relationships have developed with the University of Cumbria and Blackpool College. Student showcases have been supported wherever possible as a more informal environment to engage with our student members shortly before they graduate. Organising, Campaigning and Events All of the above activities support our Organising and Campaigning activities in the North of England. Between the two industrial Organisers and the Recruitment and Retention Organiser, 325 workplace visits took place across companies in both Live Performance and Recorded Media. This has contributed the recruitment and retention agenda of the Union, but also provided a useful opportunity to engage Equity members in our campaigns and activities. Alongside the workplace visits, Equity has had an active role and presence at a number of industry events in the Northern Area, including the Keeping it Live Showcase in Blackpool, The Magicians’ Convention in Blackpool, Surviving Actors Exhibition, The Take Off Theatre Festival in Darlington, Pole Divas in Manchester, Bridal Exhibition in Harrogate, Careers in the Arts in Hull, The National Student Drama Festival in Scarborough, North West Burlesque Society, Merseyside Dance Initiative, 24/7 Theatre Festival, Not Part Of Festival, Tameside Concert Secretaries AGM and Showcase and International Brotherhood of Magicians’ Convention, Southport. Equity has also taken an active role in Campaigning against the cuts in Arts Funding in the North, with members taking part in demonstrations and rallies at Platt Fields Park, Manchester as well as supporting the National TUC Demonstration on 26th March 2011.

iv. SOUTH EAST

a. THE COMMITTEE

A full list of the members of the Committee which sat during 2011 is included at the end of this report.

The Committee met 5 times during 2011, in Reading in early March (to coincide with the Annual Meeting of Members), in April, July, September & November. The year finished with 8 branches operating across the Southeast and all bar one were represented at 2 or more meetings whether by Observers or in some cases Branches were well represented by individually elected members. As in previous years one branch chose to remain unrepresented throughout the year. The Committee was saddened to hear early in the year of the death of our member Reg Moores. Reg had attended the Committee for many years, first as an Observer from the Sussex & District Variety Branch and latterly as an elected member in his own right. With a career starting before the war, including wartime RAF service, the dying days of variety theatres and touring ice shows and the development of the very first radio microphones, Reg’s contributions were always interesting. The Annual Meeting The Annual Meeting of Members in the Southeast (“A.G.M.”) was held in Reading at the beautifully renovated

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Reading Town Hall on March 3rd 2011. It was attended by the General Secretary, Vice-President David Cockayne and 21 other members (including members of the committee). The Southeast Area Councillor was unable to attend because of work commitments. The Chair (Julia West) welcomed members and spoke briefly about the need for members to participate in their Union and drew attention to the TUC March against the cuts later in March. In tabling the committee’s report the Secretary gave a brief outline of what we knew about Government spending cuts, emphasising the ‘second hand’ effects on the Arts of reductions in funding to Local Authorities. The Vice-President spoke from his own experience of working as part of the production team and of how working together makes us stronger. He warned of the challenging future facing the Union financially and the Members in all fields of work. He emphasised the importance of Equity being seen as a ‘player’ within the wider TU movement and urged members to come to, and to spread the word about, the TUC March, where Equity’s brand new banner would have its first public outing. The General Secretary, Christine Payne, reflected that the VP’s remarks had encapsulated why Equity existed and why she had worked for Equity for more than 30 years. She spoke of the dangers to working and artistic opportunities posed by the cuts by particular reference to recent successful films produced with the aid of the Films Council. She saw the massive cuts to the BBC as threatening its integrity as a broadcaster as well as the quality of its output and the amount of work provided. Overall the message was that a strong collective voice was always needed, now more than ever, and only Equity, as an effective Trade Union, could provide that. Only one motion had been received for consideration, calling for support for new fringe theatre and new writing in the Southeast. This was carried for presentation to the Annual Conference. Equity Business The Committee was represented at the Annual Conference and the Committee’s motion was passed overwhelmingly by the Representatives. The committee’s amendment to Council’s subscription motion, proposing a greater increase to the Joining fee was defeated. (There is a full report of the Conference, including the details of motions, elsewhere in this Report.) During the year the Committee continued to spend a lot of time debating its own purpose, aims and structures. After much discussion a proposal to become, effectively, a ‘branch liaison’ committee for the 8 branches currently operating in the Southeast was narrowly defeated. A counter-proposal to increase the size of the voting committee was passed but not proceeded with. The expected rise in activity among local Trades Councils faltered and a number who had contacted the Committee later notified us that they had failed to establish a working committee. The Committee continued to receive reports about developments among the branches in the area. Milton Keynes & District Branch, formally established in April, sent a regular Observer to the committee who became an elected member of the Committee in July. The Committee expressed its concern about the future of the newly enlarged Wessex Branch and offered support. The members of the Committee ‘agreed to differ’ about the desirability of ending the duplication and separation of effort embodied in having two different but overlapping ‘flavours’ of Branches. The Thames Branch, which meets in London but covers large parts of our area, continues to have regular and lively meetings as does the East Anglia Branch, meeting in Norwich. Kent Branch has continued to grow, while Brighton & Sussex Branch & Essex Branch continue to thrive. Live Performance There has been an almost palpable holding of the breath among the small remaining group of ACE funded producing ‘reps’ in the Area. Broadly speaking the new ‘portfolio’ funding has not greatly affected these theatres either positively or negatively, apart from the total loss of funding (from April 2012) to Trestle Theatre Company. There are a couple of major ‘gainers’ in funding, including Hoi Polloi TC, Gecko TC & dreamthinkspeak (sic). Other major funding has gone to a number of festival organisations and similar groups. The impact on Equity members in the Southeast can only be guessed at for the time being but the remit of most of these festivals etc. does not include production using local professionals. Meanwhile, the trend towards multi-theatre co-productions among the subsidised regional producing houses has continued: the record to date appears to be 5 theatres named as co-producers. The overall impact on ‘actorweeks’ is hard to assess but, overall, the trend does reflect fewer work opportunities for Equity members taken as a whole. No doubt as a result of the hard times we are going through, the trend towards non-contract, commercially inspired, fringe theatre companies over-committing themselves and letting members down has continued. The fundamental flaw usually seems to be gross undercapitalisation (zero in many cases) leading to disaster when over optimistic (not to say downright fantasy) estimates of income aren’t met. For our ‘entertainer’ members in the Southeast, the overall picture is not much better and it is those who are willing and able to be flexible about what they can offer potential customers who are most likely to prosper.

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Although statistics of actual claims do not show an increase there has definitely been a squeeze in terms of both a fall in bookings and an increase in ‘competitive pricing’ for what work is out there as families, firms and organisations reduce the number and scale of the celebration of their various anniversaries, etc. At the same time, pubs and similar venues continue to evaporate at an alarming rate while a number of members have been affected by insolvencies of restaurants and other establishments. The appalling winter weather of 2010/11 at a very busy time of year for entertainers caused a number of lost engagements, most of which were not recoverable. F.T.V.R. Matters The concentration of production houses in and around Greater London has not seen much change. The BBC’s translocation began during the year and is seen by many as a good thing but it is unlikely to be a good thing for the Southeast if independent producers follow the BBC north. As a legacy of ITV’s hard times, a couple of the tiny number of TV series which have regularly shot on location around the Southeast in the recent past have ceased to do so. There is no sign of new programmes to replace them while there has been an apparent increase in anecdotal accounts of unpaid or other irregular filming occurring across the Area. Attempts to discover more are commonly frustrated by the reports reaching Guild House after the event. The now almost traditional representations were made about the use of unpaid non-professionals on the ‘Midsomer Murders’ series, shot in Oxfordshire and Berkshire but, also traditionally, without any obvious result. The South East Area Councillor for the 2008/10 term was Michael Branwell: in the Council election of 2010 he was replaced by Laura Bailey. Members of the Committee: elected July 2009 (until July 2011) & from July 2011. July 2009 to July 2011 (only): Martyn Harrison (Vice-Chair 2009/2011) Cenydd Joeenz Reg Moores (deceased February 2011) Des Barron (re-elected 2011 but resigned before taking his seat) July 2011 to present: Michael Branwell (Chair 2011/2013) Henrietta Branwell Rachel Dobell Muhith Hakim (co-opted on resignation of Des Barron) 2009/’11 & 2011 to present: Nicholas Brand Tony Dennes Caryl Griffith The Puppet Man Peachy Mead (Vice-Chair 2011/2013) Mavis Wesley Julia West (Chair 2009/2011) Dave Whitlam Members attended as representatives from the following Branches during the year: Essex, Kent, Milton Keynes, Wessex (N.B. Members of E Anglia, Essex, Home Counties West, Kent & Thames committees also attended as elected members).

v. SOUTH WEST

The Committee met five times in 2011

It was disappointing that only eight members stood for the nine places in the mid year elections. The Equity Council agreed to the co-option of Iain Marshall to fill the one remaining place. The following constitute the Committee for 2011-13 JILL LAMEDE: Chair NICK DIPROSE MARY LANE DAVID RICHEY SARAH DUKES SARAH BUCKLAND

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Co-optee from December 2011

The General Secretary has called all the English National Committee together on an annual basis and asked them to be set aims and objectives for their term of office. These divide up into a number of component parts all of which are designed to make the Committee relevant to the members and the Union in equal measure. The Committee see this as an opportunity to also raise their profile. Initiatives started during the year therefore include the need for an online forum for Committee and Branch members in the South West, the development of a page on the new Equity website to publicise the Committee and its members to the wider membership and the need to identify specific roles for individual Committee members. One of the prevailing themes of the year was the need to co-operate with and march alongside other public service unions in opposition to government cuts. The Committee supported that proposition and asked through an ARC motion for the union to offer financial assistance where necessary to support members who wanted to do this. The motion was not reached at the ARC and therefore automatically remitted. Council felt that the union did not have the resources to commit to the level of support suggested in the motion. The Annual Meeting was held in March with 29 members attending. It was attended by David Cockayne the Vice President who spoke about the support from leading members of the profession who had joined to write about their opposition to the cuts to the arts in England. He gave an interesting perspective on membership from his viewpoint as a theatre designer. The region of England most drastically affected by local authority cuts was Somerset and the Committee supported the idea of holding an Open Meeting of Somerset based members to see if there was anything that could be achieved locally. Not enough attended to enable that to happen, but it did prompt the beginnings of a dialogue with Made in Somerset, the only revenue funded Arts Council client in the whole county. Their remit is as an agency to help facilitate arts activity in the area and this led to a meeting with the SW Committee Chair and Mark Helyar, the codirector to talk about training possibilities. This led to support for a Forum Theatre Course held in the autumn and two others in early 2012. Additionally Made in Somerset organised a weekend of activity and showcases in October which included an Open Space session on the future of the arts in Somerset which the Regional Organiser attended. There was a similar event in June in Exeter at the Bike Shed talking about the future of theatre and dance in Devon and that was attended by Committee members. The outcome of both the above discussions is available on various websites, and this was communicated to the members via the regional newsletter. It was a South West Committee initiative to experiment with a one day introduction to Equity instead of trying to get another Ambassador Course in the region with all the complications of travel and child care that entails. Two taster sessions in Barnstaple and Truro were advertised but neither attracted sufficient numbers to make the day worthwhile. So the future of these will have to be reviewed. The decline in re-commissioned drama has hit the South West hard. Casualty stopped production at the Warehouse in August and has relocated to Cardiff. Nothing of significance has taken its place or is planned to. Obviously the South West will continue to attract productions on an ad hoc basis because of the topography. Stephen Spielberg eulogised about Devon while making War Horse there, the new epic Shakespeare series being made by Sam Mendes is using Gloucester and the Marches as a principal location, and a new feature is currently called Summer in February is currently filming in Cornwall, but this is hit and miss and the need to get a broadcaster to commit to regular production in part of the region is seen as a priority. It was therefore good that both Skins (Bristol) and Doc Martin (Fowey) filmed during the year. The Bristol and West General Branch is also seeking discussions with the BBC over casting policy now that the new drama facility, Roath Lock, is open in Cardiff. It is hoped to arrange a meeting with Julia Crampsie, the main casting director for all in house BBC work, or one of her staff, as soon as practicable. The statistics on training in what may be the final year of the direct funding from the SWTUC are very impressive and an enormous debt of gratitude for the organisation of these goes to Jill Lamede who has over the last eight years organised most of them with very little personal gain. The figures for 2010/11 were published in the Newsletter but are worth reprinting here as a record of the years work. 160 participants were involved overall, and that broke down as 82 in Devon and Somerset and 40 in Cornwall with a further 38 receiving information advice and guidance. The range of courses was also impressive: there were four first aid courses in Exeter, Newton Abbot, Plymouth and Truro; Access to touring in Redruth; two Forum Theatre courses in Taunton and Paignton; three Financial Literacy courses in St Austell, Truro and Saltash; two Impro weekends in Plymouth, an advanced Impro in Torbay and an Impro Masterclass weekend in Exeter; six Shakespeare classes at the Northcott; and two redundancy courses in conjunction with BECTU. That makes grand total of thirty one days training. It should also be noted in passing that 2012 marks the 10th anniversary of where it all began â&#x20AC;&#x201C; in Cheltenham with the Actors Lab. That is now self sustaining although it is under increasing pressure and Equity is already in talks to suggest ways in which it can survive in its present form. In November, the newly elected Chair of the Womenâ&#x20AC;&#x2122;s Committee, Lynda Rooke organised an Open Meeting for Women in the South West at the Watershed Media Centre in Bristol. There was a high profile panel including

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film makers, playwrights and representatives from the Arts Council and Creative England. A précis of the meeting is available via the Womens’ Committee Facebook page. The number of claims for mainly individual variety artists dealt with by the Cardiff Office has been noticeably lower through the year. Nevertheless the total monies recovered were £7919.98, which still represents a significant amount. There have been a number of inevitable bankruptcies and failures of outdoor festivals which usually result in very little chance of members recovering what is due to them. Interestingly, one of the venues that a successful claim was made against, The Grosvenor Hotel in Torquay, is now the subject of a television series in its own right – The Hotel on Channel 4 on Sunday nights. Membership figures for the region have been encouraging. There was a net gain of 34 members over the year which brings the total membership to 2,472 or 6.67%. BRANCHES a) Devon and Cornwall General Branch The decision of Jeremy Friday to take on the role of Secretary to the Branch which had been vacant for some time has had a greatly beneficial effect on efficiency and communication. A continuing number of useful strands of information have been made available to members including advice on websites and health and safety tips. Jeremy has also devised a presentation to student or other groups who want to know about Equity and is intending to introduce a newsletter to pass on more information in the New Year. He has also produced business cards. Chair: Mark Cartier Secretary: Jeremy Friday Treasurer: Wanda Blair b) Bristol and West General Branch Rachael Fagan stood down as Secretary to have her first baby. All went well and she returned to her duties at the end of the year. Roland Oliver stood in for her. He lead on discussions of employment at the Bristol Old Vic and arranged a meeting with senior staff to go through the figures in detail. This led to both Emma Stenning (Executive Producer) and Kate Yedigaroff (Ferment Director) talking direct to the Branch at individual meetings. Emma talked about the shape of the rep seasons when the Theatre Royal reopens in April 2012 and Kate described her policies on developing new talent through the Ferment programme. Meeting space was a problem but has now been resolved and the new Branch meeting date is the third Monday of the Month at the YHA. Chair: Matthew Roberton Secretary: Roland Oliver Treasurer: Lynda Rooke c) West of England Variety Branch: The Branch has met intermittently because of the indisposition through illness of the Branch Secretary, Mary Lane. In an act of great generosity the Branch members came together in September and put on a show for her benefit at the new meeting venue, the Ex Servicemen’s Club in Bedminster Down, and attracted a packed house which helped raise well over a thousand pounds. In the meetings that did take place a number of initiatives were discussed, and a fundraising charity show is planned for 2012 as is a fundraising mechanism for the Branch itself. New members to the meetings in 2012 will be given a complementary drink and welcome. Chair: Sammi Gordon Secretary: Mary Lane Treasurer: Mary Lane

C. SPECIALIST COMMITTEES i. AUDIO COMMITTEE

The Committee met five times this year and continued to advise Equity on issues affecting audio artists across the industry. These issues range from rates on educational language recordings, radio commercials, voice over work on television and film and various new media platforms. The Committee has raised concerns regarding late payments from fixers working in ADR (Additional Dialogue Replacement) and general practices in this area. It was agreed to formulate a Code of Conduct for fixers working in this field and invite them to sign up to this in order to create standard practices. One of the primary roles of the Committee is monitoring issues related to the BBC Audio Agreement. A Working Party was formed to assist with drafting the Equity claim for the 2011/2012 BBC Audio Agreement and a negotiating team made up Sheila Mitchell, John Webb and Ted Kelsey attended meetings with the BBC. The input from the Committee during these negotiations was invaluable. It was agreed in the negotiations to increase the rates across the agreement by 2% in line with the BBC staff increase. It was argued that it was unfair that the rate

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increase had to be in line with the rest of BBC staff and we were unable to negotiate our own increase. However, the BBC made a strong case for the struggling radio drama budget which had not been increased for some time and therefore every rate rise had to be found within the existing budget. The BBC proposed that the increase be on all rates but with a cap at a certain level and therefore anyone earning above a certain rate would have to negotiate their own increase or more than likely get no increase at all. The negotiating team felt this could not be accepted and would have serious ramifications. The BBC agreed to withdraw this proposal but will re-visit this in the next round of negotiations. Throughout the year the Committee were consulted about various proposals from the BBC such as special one off arrangements for certain productions. These were primarily regarding an extension of rights for a further payment which were not covered in the agreement. The Committee has continued to campaign for radio drama and expressed concern about the decline of radio drama output. One particular campaign which the Committee were involved in was the Short Story Campaign. Equity met with the Writers’ Guild and the Society of Authors to discuss the decision to cut the short story slots on Radio 4 from four to two per week. It was decided that the three unions would work together to protest against this decision and also to promote radio drama as a whole. Members signed a petition asking for the short story slots to remain unchanged and also took part in a Twitter campaign. A meeting was held with Tim Davie (Head of Audio and Music for the BBC) and Gwyneth Williams (Controller of Radio 4) to challenge the decisions made and to discuss the importance of radio drama. This was attended by the General Secretaries from Equity, the Writers’ Guild and the Society of Authors. Sheila Mitchell (Audio Councillor) attended on behalf of the Committee. Strong points were made at the meeting but unfortunately the BBC remained defensive of their decision. The Committee are continuing to devise a radio drama campaign and consulting with the other Unions. John Webb has represented the Committee on the Advertising in New Media Working Party and Laurence Bouvard continued to represent the Committee on the New Technology Working Party. Sheila Mitchell provided the Committee with detailed written and verbal reports on the business conducted by the Council. Patricia Brian and Alan Thompson agreed to be the Committee’s representatives at the ARC. The Committee voted on two separate motions to send to the ARC and it was agreed to submit the following motion: ‘The Audio Committee requests Conference to instruct Council to put in place agreements (or at the very least guidelines) for the employment of Audio Describers. Further, efforts should be made to lobby government for audio description to be included as a necessary service provision in the Equality Act 2010. Finally Equity should embark on a recruitment campaign to identify people working in this area and encourage them to join the Union.’ Proposed by Patricia Brian Seconded by Sheila Mitchell The motion was carried by the ARC. Subsequently the Committee agreed the initial step should be to focus on a recruitment campaign, and in the first instance, to compile a register of audio describers, both members and non-members. A meeting was held with the Audio Describers Association and the largest agency working in this area to discuss how best to recruit people working as audio describers. They agreed to forward an email to all their contacts from Equity expressing the benefits of joining the Union and encouraging people to join the Audio Describers’ Register. There has been an encouraging response to this email and approximately 10 people have joined as a result. The Audio Describers Register is currently being compiled and growing slowly. The next step would be, with the help of the Audio Describers’ Association, to come up with a best practice document for people working as audio describers in theatre. It was agreed that setting a minimum rate is not necessary and would not benefit people working in this area. However highlighting the best terms and conditions would assist members greatly and also certain theatres who are unaware of what they should be providing for audio describers. The work on this is continuing. Thanks goes to all the members of the Audio Committee for their continued efforts on all matters relating to Equity members working in the Audio field. Sadly we learnt of the death of Nicholas Courtney whose input into the work of the committee over many years will be very greatly missed. The members of the Audio Committee to June 2011 are: Edward Kelsey (Chair)

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Sheila Mitchell (Vice-chair and Audio Councillor) David Bannerman Laurence Bouvard Patricia Brian John Bull Nicholas Courtney Caroline Lennon Patricia Leventon Michael McClain Graham Padden Liza Ross (co-opted member) Alan Thompson David Thorpe (co-opted member) John Webb For the first time in many years there was an election for places on the Audio Committee. The elected members of the Audio Committee from July 2011 are: Edward Kelsey (Chair) Sheila Mitchell (Vice-Chair) Laurence Bouvard Posy Brewer Patricia Brian John Bull David Corden DeNica Fairman Stephen Hogan David John Patricia Leventon Liza Ross Alan Thompson David Thorpe John Webb

ii. Choreographers’ Committee

The Committee had two quorate meetings during 2011 with the membership below. Paul Mead remained as Councillor. Committee members were: Paul Mead Chair Damien Delaney Dale Mercer Ella Natasha Gerson. Piers Gielgud Dana Mayer Fran Jaynes Jacqueline Lansley Huw Prall Maggie Rawlinson Vice Chair Brendon Stapleton No Motion was sent to the ARC. In the elections in July only three members stood for election and therefore the Committee was not quorate. It was agreed by the Chair and Councillor in conjunction with the Ballet Councillor who was also on the Committee that the Committee’s work had now been done. The Committee had been set up in the 1980’s to introduce contracts and agreements into the industry and have these agreed with the Employer. They had achieved this aim in all areas of theatre and there were good agreements in place with the various employers that were linked in with automatic financial increases. A Motion was therefore sent to Council in November asking for the Committee to be discontinued. Thanks are recorded particularly to the Chair and Vice Chair of the Committee Paul Mead and Maggie Rawlinson for all the work they had done on Choreographers’ behalf.

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iii. CONCERT & SESSION SINGERS’ COMMITTEE

Members of the Committee to July 2011: Christopher Dee (Chair), Bryn Evans, Tom Emlyn Williams, Lee Hickenbottom, Rosalind Waters, Nick Keay, Sidonie Winter, Simon Preece (Vice-chair), Denis Ray, David Combs, Tim Gale (Secretary). Emma Kershaw and Janet Mooney were co-opted on to the committee with Council’s agreement. Emma Kershaw resigned in January 2011. Members of the Committee from July 2011; Christopher Dee (Chair), Simon Preece (Vice-Chair), Bryn Evans, Tom Emlyn Williams, Dennis Ray, Sean Kerr. The following were co-opted with the agreement of Council: Nick Keay, Anne Skates, Rosalind Waters, Sidonie Winter. The Committee met four times this year. The Committee continued to advise Equity on issues affecting concert and session singers across the industry. Negotiations have been painfully slow with the BPI and little progression has been made. However, the BPI has promised to speed up the process at its end and it is now hoped that these negotiations will be completed before the spring. A new Singers’ Newsletter will be issued when negotiations with the BPI are complete but several emails from the committee were sent to the entire Singers’ Register to keep all appraised of the committee’s work. The rates for Classical Public Concerts were increased by the rate of inflation in April. The Committee dealt with many issues relating to work in this area, namely low subsistence rates being paid for overseas engagements and unreasonably long working hours. The Committee has continued to make recruitment and retention a priority and assisted by attending a number of student talks to give students a valuable insight into the issues facing singers and the importance of belonging to the Union. No motion was sent to the ARC from the Committee, although representatives from the Committee attended the ARC.

iv. GENERAL BRANCHES

Branches have been busy organising a range of speakers on issues concerning the profession, offering members workshops, training events and the opportunity to learn new skills, organising play and script readings and playing a vital role in Equity’s democratic organisation. Speakers have included directors, producers, casting directors, writers and professionals from all areas of the profession and beyond and debates have taken in the future of the industry, campaigning against arts cuts, union business and a very wide range of other topics.

v. Independent Theatre Arts Committee (ITAC)

The committee met five times during the year, three of which were with the committee 2009-11, and one with the committee 2011-13. In addition, there were three working party meetings, two with the committee 200911, and one with the committee 2011-13. In the first quarter of the year, much effort was directed from the Committee toward rolling out and publicising the outdoor touring guidelines, led by Andrew Macbean. The project was a success, with ten companies using the guidelines in 2011, the first year of their operation. Throughout the year special scrutiny was given to encouraging companies onto Equity agreements, especially through the ITC. The Committee assisted in the research and establishment of a database of over 1,000 theatre companies nationwide, detailing their contacts and contract status. The Committee continues to be actively involved in researching and identifying an average of a dozen companies a month to approach to encourage onto Equity agreements. In addition to this the Committee has galvanised itself with the anti-cuts campaign of the Union, building on the success of the Manifesto for Theatre campaign, including special attention to new National Portfolio Organisations (NPOs) who are not on contract, as well as participating the Union’s ‘March for the Alternative’ contingent. The Committee partnered with colleagues in Scotland in order to help research and map the Edinburgh Fringe. Further activity is planned for 2012 around the London and other fringes, particularly around issues of no and low pay. The Committee’s working parties focussed on improving the ITC agreement and reviewing its operation. Negotiations will commence in 2012. The Committee changed in composition in July 2011, but not enough nominations were received for an election to be held. Hannah Packham, secretary since 2009 left in April and was replaced by the current secretary, Paul Fleming. Members of the Committee 2009-11: Frances Rifkin Andrew Macbean Andy Medhurst Iain Armstrong

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Morna Burdon Deborah Charnley Katharine Kavanagh Caron Jane Lyon John Plews Ian Teague Nick Russell Members of the Committee 2011-13: Andrew Macbean Frances Rifkin Andy Medhurst Katharine Kavanagh Morna Burdon Norma Dixit Hasan Dixon John Gregor Nigel Harris Caron Jane Lyon John Plews Lee Ravitz

(Chair 2011-2) (Chair 2012-3) (Councillor & Vice-Chair) (Minutes Secretary)

vi. INTERNATIONAL COMMITTEE FOR ARTISTS’ FREEDOM (ICAF) ICAF continues to provide support for performers facing persecution and campaigns for freedom of expression

throughout the world. In the last year the committee has made interventions on behalf of performers in a number of countries including Iran, Syria, Gaza, Chile and China. The Committee also continued its work to highlight the impact of repressive regimes on artists in Belarus and Burma. Over the past few years Equity and ICAF have joined with a number of other organisations to sponsor the Free Zarganar campaign. In the latest stage of the campaign to highlight his case, Zarganar was awarded honorary life membership of Equity in May 2011. Zarganar had been serving a 35-year prison sentence after criticising the Burmese government’s handling of Cyclone Nargis in 2008 but was finally released from prison on 14th October 2011. His release coincides with a number of other gestures from the military junta which indicate that there will be further moves to improve freedom of expression in Burma. However, it is very early and there is a long way to go before artists are able to work safely. This year ICAF also worked very closely with members of Belarus Free Theatre who have been subjected to beatings, imprisonment and kidnap because of their efforts to organise independent theatre productions, free from state censorship. Campaign activities included a protest outside a PR firm working on behalf of the Belarus government, followed by a performance and protests at the Houses of Parliament and lobbying the Foreign Office. BFT are now resident in the UK and are fundraising to continue their work, assisted by Equity and ICAF. In December 2011 ICAF was invited to take part in an international summit on artistic freedom in Copenhagen. The event brought together organisations which have an interest in building a global network, provisionally named Artsfex, that can campaign in a joined up way to protect and promote the right to artistic expression for musicians, actors and other performers. ICAF also maintains strong links with its sister organisation the International Performers Aid Trust (IPAT), the charitable trust founded by ICAF to specifically help in cases of poverty and hardship among performers overseas. The Committee’s work is generously funded by donations from Equity’s branches, committees and individual members and appeals at the Equity Annual Representative Conference. Further donations to help this valuable work on behalf of performers all over the world are always very welcome and Equity members are encouraged to attend and take part in the Committee’s regular fundraising events. Further information about ICAF can be obtained by contacting the Head of the General Secretary’s Department, Louise McMullan, who acts as Secretary to the Committee.

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In the last year ICAF lost two long serving and dedicated members - Miriam Karlin and Michael Shannon, who sadly passed away. Current members of the Committee are: Rosamund Shelley – Chair, Frederick Pyne – Vice Chair, Adam Knight – Vice Chair, Robert Mill, Simeon Andrews, Thomas Baptiste, Ian Barritt, Yvonne Bonnamy, Henrietta Branwell, Michael Branwell, Anna Carteret, Chipo Chung, Angela Crow, Deborah Davies, Esther-Ruth Elliot, Lynn Farleigh, Caryl Griffith, Edward Halsted, Janet Henfrey, Sara Kestelman, Joe Kloska, Peter Kosta, Karen Lewis, Helen Lindsay, Stella Maris, William Maxwell, Kerry Michael, Kristin Milward, Rowenna Mortimer, Geremy Phillips, Sheila Reid, Prunella Scales, Peter Searles, Jessica Sherman, Malcolm Sinclair and Fiona Whitelaw.

vii. LESBIAN, GAY, BISEXUAL AND TRANSGENDER COMMITTEE

The committee met four times in 2011. An election was held in 2011 and the following members were elected for the 2011-2013 term: Joan Beveridge Giovanni Bienne Miranda Cook Ruby Diamond Jo Freya Paul Guthrie Peter Kosta James Hamilton Welsh Olivette Cole-Wilson Joan Beveridge was elected Chair and James Hamilton Welsh Vice-Chair. The newly elected committee set itself two year Aims and Objectives and began work on taking them forward. The committee’s focus of work over the year was its Safe to be Out in the Entertainment Industry Survey and its All of Me Campaign. The All of Me campaign’s primary aim is to highlight the positive benefits that many LGBT members experience as a consequence of being Out at work, such as to their mental health, happiness and creativity. This is intended to act as a counterweight to the commonly reported story that coming Out will necessarily be career suicide. The committee’s Safe to be Out survey will underpin its All of Me campaign by providing a snapshot of LGBT members’ attitudes towards and experiences of being Out in the workplace. Work began on putting together a number of personal testimonies of LGBT members who are Out at work, which will be published as part of the All of Me campaign in 2012. The committee made representations to the British Film Institute and the Department for Culture, Media and Sport about the BFI’s comment on its website that the UKFC’s diversity work had ‘closed’. The BFI has not assumed responsibility for the UKFC’s valuable diversity and equality work and the LGBT Committee will be meeting with the BFI in early 2012 to discuss this matter and what can be done to remedy this unsatisfactory position. The committee re-launched the LGBT Register and created an LGBT Committee Facebook page as a means of promoting its work and engaging with LGBT Equity members. The LGBT Committee had a presence on the Pride London parade, marching with Federation of Entertainment Unions LGBT members. Members of the committee contributed to the work of the Diversity of Union Engagement Working Party. James Hamilton Welsh, Giovanni Bienne and Ruby Diamond represented the committee at the TUC LGBT Conference. The committee’s motion on the equality impact of the arts cuts was unanimously carried. The committee was represented at the ARC by Joan Beveridge and Nicholas Brand. The committee’s motion calling on Equity to work with drama school umbrella agencies to assess the extent to which stereotypical casing practices impact on student selection and opportunities at drama school was carried, as amended by the North and East London Branch. Joan Beveridge met with Ian Kellgren of the NCDT to discuss the committee’s ARC motion and how the NCDT could take forward the issues it identified. Joan Beveridge also met with Stonewall to discuss issues relating to drama schools. The committee sent two motions to Council in 2011.

viii. MEMBERS WITH DISABILITIES’ COMMITTEE

The committee met three times in 2011. An election was held in 2011 and the following members were elected for

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the 2011-2013 term: Simon Balcon David Cockayne (Vice-President) Dan Edge Paul Henshall Ann Loraine Floraidh F Macleod Sheila Payne Dennis Ray (Councillor) Mik Scarlet Freddie Stabb Dennis Ray was elected Chair and Mik Scarlet Vice-Chair and Minutes Secretary. Prior to the committee elections in June and July 2011 the committee organised an Open Meeting to engage with members and encourage them to stand for election to the Members with Disabilities’ Committee. The Open Meeting was extremely well attended and Kate Rowland, Head of Creative Writing at the BBC, addressed the meeting as a guest speaker. Equity members pressed upon Kate the need for the BBC to increase its employment of disabled performers and improve the portrayal of disabled characters on-screen. A number of members who attended the Open Meeting stood for and were elected to the committee. The newly elected committee set itself two year Aims and Objectives and began work on taking them forward. The committee collated information about accessibility and transport for uploading to the Equity website and made links with external organisations that deal with access issues in the entertainment industry, including Graeae and Attitude is Everything, with a view to joint working on access. An audit of London theatres that provide captioning in addition to hearing loops was undertaken. During the year the committee decided that the Integrated Casting Policy for Performers with Disabilities should be rewritten to bring it up-to-date and to broaden it to cover members who have one or more of the protected characteristics under the Equality Act 2010. Work began on redrafting this policy. The committee produced a guide to language to use when communicating with disabled members for inclusion in the 2012 ARC Representatives packs. Work began on auditing the accessibility of audition and rehearsal spaces and collating disabled members good and bad experiences of auditioning. The committee created a Disability Committee Facebook page and Twitter profile as a means of promoting its work and engaging with disabled Equity members. Both social networking sites are to be launched at the beginning of 2012. Dennis Ray represented the committee at the TUC Disabled Workers’ Conference. The committee’s motion calling on the TUC Race Relations Committee to support Equity’s campaign against the arts cuts and urge all affiliates to lend support to Equity’s campaign was unanimously carried. The committee was represented at the ARC by Chris Webb. The committee’s motion which called on Equity to instigate a disability audit of theatres and concert halls throughout the UK was remitted to Council. The committee sourced and organised the provision by Equity of an electric wheelchair for disabled members to use when attending meetings in Guild House. The committee sent two motions to Council in 2011.

ix. MINORITY ETHNIC MEMBERS’ COMMITTEE

The committee met four times in 2011. An election was held in 2011 and the following members were elected for the 2011-2013 term: Lachele Carl Coran Elliott Muhith Hakim

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Paul Hyu Shiv Pande Sanita Simms (Councillor) Olivette Cole-Wilson Daniel York Shiv Pande was elected Chair and Daniel York Vice-Chair. The newly elected committee set itself two year Aims and Objectives and began work on taking them forward. The committee’s focus of work throughout the year was on Equity’s Rule Change Referendum. This referendum had come about as a result of a MEM Committee motion to the 2010 ARC and the committee viewed the rule change referendum as a historic moment in Equity’s history to demonstrate Equity’s commitment to its minority ethnic members and to equal opportunities more generally. Committee members promoted a YES vote in the referendum and undertook a series of actions to deliver a YES vote, including one member explaining, in an article for the Equity Magazine, why a YES vote was so important for the union. The committee was proud that Equity members supported the rule change in the referendum and saw this as a landmark in Equity’s fight for equality. The committee viewed the YES vote as of crucial importance to Equity being able to achieve a more ethnically diverse membership and activist base. Committee members worked with the Equalities Officer to deliver a training course, Changing the Face of Your Union, designed to encourage minority ethnic members to get involved in the union and engage with Equity’s democratic structures. This training course was a Federation of Entertainment Unions initiative which was delivered over four evenings. It was delivered by Wilf Sullivan, TUC Race Equality Officer, and the Equalities Officers from the FEU unions. Members from Equity, the Musicians Union, the NUJ and BECTU participated and shared experiences. The course was a huge success and as a direct consequence participants stood for and were elected to a number of Equity’s committees in the June and July elections. It is intended that this training course will be run again throughout 2012 to help address the lack of diversity amongst Equity’s activists, particularly the lack of minority ethnic members who get involved in the union’s democratic structures. A priority area of concern continued to be the lack of South East Asian employment across the industry and the stereotypical portrayals of South East Asian characters on TV. Work began on holding a FEU-wide event to highlight these issues to employers and to co-ordinate a campaign for action in this area. The committee welcomed Equity’s three-year twinning project with the Ghana Actors’ Guild and is looking at ways to maintain links established by this project after it formally closes. The committee created a Minority Ethnic Members’ Committee Facebook page as a means of promoting its work and engaging with minority ethnic Equity members. The committee was represented at the ARC by Roxanne Clinch and Shiv Pande. The committee’s motion which called on Equity to endeavour to monitor and assess the equality impact of the arts cuts on minority ethnic led theatre companies was carried unanimously. Roxanne Clinch, Shiv Pande and Sanita Simms represented the committee at the TUC Black Workers Conference. The committee’s motion on the equality impact of the arts cuts was unanimously carried. The committee sent one motion to Council in 2011.

x. Models Committee

The Models Committee met three times during 2011 with the Chair Victoria Keon-Cohen and Dunja Knezevic as Vice Chair. They Committee has set up a website page, a Twitter account and Facebook page. Members of the Committee are as follows: Victoria Keon-Cohen (Chair) Dunja Knezevic (Vice Chair) Ross Allison Alexa Brown Rachel Blais Dominyka Gajauskaite Eva Fahler Mohan Randhawa

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Rachel, Dominyka, Mohan, Ross and Eva were co-opted. Victoria and Dunja worked on a promotional video “London Promotes” which was funded by the Model Programme and was intended to advertise the fact that London is a good place for models to come and work. It included contributions from various stakeholders at London Fashion Week and was supported by the BFC. Committee members also attended the Model Sanctuary during Fashion Weeks to give talks about Equity and membership, as well as helping at the Birmingham Clothes show, where Dominyka gave a presentation. Eva started work on contacting politicians to take forward model issues and a meeting with the Chair of the All Party Parliamentary Group for Body image has been arranged. The BFC started work on significantly improving rates for models working during Fashion week and implemented new minimum rates from £150 for a first show, to £1,250 for Designers with turnovers in excess of five million pounds. They also introduced rates for presentations and salon shows.

xi. Stage Management Committee

The Committee met five times during 2011. The Committee’s representatives to the ARC were Sylvia Carter and Brian Perkins. The Committee did not put a motion to the ARC but did put an amendment to the West End Deputies motion. Fiona Mott was the Committee’s representative on the Subsidised Repertory working party and Fiona and Sylvia were also the Committee representatives on the Commercial Theatre working party. Fiona Mott, Graham Hookham and Steve Burnett were on the West End working party. The Committee produced a Guide to buyout contracts that was circulated to the stage management membership and put on the website. It similarly produced a Guide to work placements. Members of the Committee to July 2011 from July 2011 Jo Bradman - Chair Sylvia Carter - Chair Sylvia Carter - Vice Chair Graeme Reid - Vice-chair Steve Burnett Stephen Burnett Alex Burke Jamie Byron Prudence Haynes Sarah Cowan Graham Hookham Joanne Grabham Carrie Hutcheon Prudence Haynes Sally McKenna Graham Hookham Brian Perkins Fiona Mott Graeme Reid Brian Perkins Tabatha Williams Ethan Taylor Tabatha Williams

xii. STUNT COMMITTEE

The Equity Stunt Committee met 3 times during 2011 and there was also the annual open meeting at Shepperton Studios in October. It proved difficult to arrange meetings during the first part of the year as the Committee were reduced to 9 members following the separation of the JISC and ESC. There was an election for the ESC in August 2011 which 8 candidates stood for. The numbers were brought back up to 12 after a further 4 members of the register were co-opted. The JISC met 3 times altogether in 2011 and with the new structure agreed, they are now in the process of drafting an updated version of the rules of the register which will hopefully be in place by 2013. Equity ran a successful day’s Health and Safety training for members of the register in March 2011. A new training structure for stunts is being implemented in 2012 and the first classes in screen combat have already taken place. An issue of the Stunt News was published in June 2011. There were 17 new admissions to the JISC register and a total of 12 upgrades. Members of the Equity Stunt Committee from August 2010: Jim Dowdall (Chair) Greg Powell (Vice Chair) Richard Bradshaw Tom Lucy Gareth Milne Tony Van Silva Steve Whyment Lex Milloy Matt Price

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Members of the Equity Stunt Committee from August 2011: Jim Dowdall (Chair) Greg Powell (Vice Chair) Sarah Franzl Tom Lucy Andy Bradford Ray De Haan Paul Heasman Derek Lea Richard Bradshaw (co-opted) Jimmy O’Dee (co-opted) Andreas Petrides (co-opted) Seon Rogers (co-opted) Elected stunt members of the Joint Industry Stunt Committee: Riky Ash (Stunt Councillor) Bill Weston Lee Sheward Gary Arthurs Paul Herbert Tony Lucken

xiii. Theatre Designers’ Committee

The Committee met four times during the year, twice with the 2009-11 committee and twice with 2011-3 committee. The Committee has been committed to the re-negotiation of the designers’ rates as a key part of their work over the past year in a difficult climate. The condition of settling was a productive meeting with the Theatrical Management Association (TMA) about the use of minima for designers. It is hoped that this will lead to a productive and lasting dialogue. The Committee was also involved in an highly successful event in Cardiff organised by the Society of British Theatre Designers (SBTD), and promoted the work that the Committee does there. There was also a presentation made to the Annual General Meeting of the Association of Lighting Designers (ALD). The Committee changed in composition in July 2011, but not enough nominations were received for an election to be held. Hannah Packham, secretary since 2009 left in April and was replaced by the current secretary, Paul Fleming. Members of the Committee 2009-11: Sean Cavanagh (Chair) Steve Denton (Vice Chair) David Cockayne (Councillor) Becs Andrews Mark Bailey Judith Croft Foxton Mark Jonathan Ian Teague Johanna Town Fiona Watt Members of the Committee 2011-3 Judith Croft (Chair) Foxton (Vice-Chair) David Cockayne (Councillor & Minutes Secretary) Sean Cavanagh Ben Cracknell Anna Gooch Kasper Hansen Richard Lambert Edmund Sutton George Taylor Ian Teague Fiona Watt

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xiv. Theatre Directors’ Committee

The Committee met four times during the year. Catherine Arden and Di Christian were the Committee’s representatives to the ARC. The Committee’s motion to the ARC sought to set up an online branch. The Committee continued its work on pay and agreement negotiations. Further editions of the newsletter for director members were produced and distributed during the year. At its September meeting the Committee welcomed Rob Swain who came to talk about the Directors’ training course he runs at Birkbeck College. Members of the Committee to July 2011: from July 2011: Patricia Doyle Chair Ivor Benjamin Chair Nicky Diprose Vice-chair Nicky Diprose Vice-chair Ivor Benjamin Catherine Arden John Carnegie Councillor John Carnegie Councillor Di Christian Di Christian Simon Dunmore Simon Dunmore Catherine Arden Clifford Milner Richard Syms James Norris Jeffrey Teare Vanessa Pope David Warwick Jeff Teare Faynia Williams David Warwick Faynia Williams

xv. Theatre Fight Directors’ Committee

The Committee met twice in the year, once with the 2009-11 committee and once with the 2011-2 committee. The principle work of the Committee was made up with examining applications to the Register. It was decided at the September meeting to request that Council disband the Committee and replace its structure with a working party and an annual general meeting (AGM). Council accepted this, and the Committee will be formally disbanded at the first AGM, to be held in 2012. The Committee changed in composition in July 2011, but not enough nominations were received for an election to be held. Hannah Packham, secretary since 2009 left in April and was replaced by the current secretary, Paul Fleming. Members of the Committee 2009-11: Malcolm Ranson (Chair) Renny Krupinski (Vice Chair) Andrew Ashenden Kevin McCurdy Philip d’Orleans Philip Stafford Members of the Committee 2011-12: Andrew Ashenden Nicholas Hall Renny Krupinski Philip d’Orleans Kevin McCurdy Michael Poynor Philip Stafford Derek Ware (resigned 2011) Kate Waters

xvi. WALK ON AND SUPPORTING ARTISTS’ COMMITTEE

The committee met four times during 2011 and continued to give advice to Equity on all matters relating to Walk On and Supporting Artists. The committee submitted the following motion to the ARC, MOTION 34: This Annual Representative Conference agrees that Equity shall address an issue of abuse by employers, which affects walk-ons, supporting artists and other professional colleagues. That abuse involves broadcasters who have chosen to reduce in-house productions by engaging independent

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producers. Some of those independent producers blatantly disregard both Equity’s agreements and the law of the land, by paying less than the National Minimum wage. In particular, the BBC, having received licence fee payers’ money, then uses this money to purchase and/ or commission programmes from independent producers. The BBC, simply by sub-contracting or purchasing programmes, cannot ignore its responsibilities to the public to ensure that producers comply with the BBC’s terms and conditions and that these independent producers comply with the law. This Annual Representative Conference agrees that, if necessary, Equity will seek legal advice to clarify this issue and will ensure that Ofcom, the appropriate Government departments and the TUC are made aware of our concerns. The motion was carried by a simple majority. Linda Hardy and Maggi Hevicon-Thompson attended the ARC on behalf of the committee. Further to the ARC the committee was requested to clarify the intention and scope of the motion and at the time of writing this report letters were being drafted to Ofcom and the BBC Trust regarding the BBC’s Terms of Trade with Independent Producers and compliance with the law. Members of the Committee in 2011 Further to the committee elections that were declared in July the following twelve members were elected to serve for the two year term 2011/2013. Anthony Blakesley Shirley Bridges Christine Bucci Michael Earl Linda Hardy Maggi Hevicon-Thompson Yvonne Joseph Ann Loraine Brenda Marsh Roger Morgan Roy Radford Sally Treble Henrietta Branwell ex-officio Equity Councillor Sally Treble was re-elected Chair and Michael Earl was re-elected Vice- Chair. The committee also elected the following members onto the TV Negotiating Working Party, Yvonne Joseph, Roger Morgan and Sally Treble. The committee also agreed ten Aims and Objects for its next two year term, these being, 1/ 2/ 3/ 4/ 5/ 6/ 7/ 8/ 9/ 10/

RELICENSING OF WALK-ON AGENTS INTRODUCTION OF ‘STANDARD’ SALARY VOUCHERS UPGRADING OF ‘TERMS AND CONDITIONS’ WITHIN TV AGREEMENTS ENSURE INDPENDENT PRODUCERS COMPLY WITH THE LAW SURVEY OF WALK-ON MEMBERS AND AGENTS ABOLISION UP-FRONT FEES EMPLOYERS PROVIDING CLEAR REMITTANCE ADVICE AGENTS WHO ACT AS ADMINISTRATORS FOR PRODUCTIONS STANDARD LETTER ON NI AVAILABLE TO MEMBERS ENSURE AGENTS COMPLY WITH REGULATIONS

To progress some elements of the committees aims and objects in February 2012, the committee should be meeting with a representative from BIS (Department for Business Innovation & Skills) together with the BECTU/ FAA committee.

xvii. WOMEN’S COMMITTEE

The committee met four times in 2011. An election was held in 2011 and the following members were elected for the 2011-2013 term: Joan Blackham Karina Cornell Eleanor Dearle Norma Dixit Shirley Jaffe Susan McGoun

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Jean Rogers (Vice-President) Lynda Rooke Flip Webster Lynda Rooke was elected Chair, Flip Webster Vice-Chair and Eleanor Dearle Minutes Secretary. The newly elected committee set itself two year Aims and Objectives and began work on taking them forward. Throughout the year the committee kept in regular contact with Tony Panayiotou, Director of Diversity at Arts Council England, on the issue of women’s employment. The committee called on ACE to make gender monitoring of performer employment mandatory by theatres in receipt of public funds, to make this data publicly available and to take action to promote women’s performer employment in theatre. Underpinning the committee’s focus on working with ACE was the Equality Duty to which ACE is subject. The committee was disillusioned by the lack of industry response to its gender equality audit of casting in theatre. In 2010 the committee had monitored role distribution by gender across the main publicly funded theatres and found that there are far fewer employment opportunities for women than for men. In February 2011 letters were sent to all the theatres monitored as part of an attempt to engage with employers on gender equality and to encourage theatres to promote gender balanced casting in their forthcoming programmes and commissioning processes. By the end of the year only 9 of the 36 theatres written to had responded to Equity’s correspondence, namely the Almeida Theatre; Lyric Hammersmith; Donmar Warehouse; The Dukes; Manchester Library Theatre; Mercury Theatre Colchester; National Theatre; Royal Court; Theatre by the Lake and the Young Vic. After consultation with the West End Deputies’ Committee the Women’s Committee produced a gender monitoring questionnaire for inclusion in Deputies Packs. It is hoped that Deputies will undertake gender based monitoring by production to build up a broader picture of women’s performer employment in theatre. The committee undertook a gender audit of women Artistic Directors. The underrepresentation of women Artistic Directors was brought to the attention of Barbara Matthews, Executive Director Arts, at ACE. Committee members continued to collect petition signatures calling for equal employment for women performers in film and TV. In December the committee held a very productive meeting with Ben Stephenson, BBC Head of Drama Commissioning, and Kate Harwood, BBC Producer Series and Serials. Ben and Kate were invited to meet with the Women’s Committee to discuss the BBC’s approach to the casting of women and in particular older women and how the BBC could better promote women’s on-screen employment. Work started on a campaign to commemorate notable women in the industry with blue plaques. During the year the committee created a Women’s Committee Facebook page as a means of promoting its work and engaging with Equity members. Lynda Rooke, Jean Rogers and Shirley Jaffe represented the committee at the TUC Women’s Conference. The committee’s motion which condemned the Government’s arts cuts and its decision to scrap the socio-economic duty was carried unanimously. Members of the Women’s Committee attended the ARC and the committee’s motion calling on the Equity Council to recognise that gender equality requires its own focus and to ensure that it is separately identified and argued for as part of any industrial and political strategy was carried as amended by Council. On 23rd November the Women’s Committee held its first regional Open Meeting which took place in Bristol at the Watershed. The meeting was organised by Lynda Rooke and was an opportunity for women based in the South West of England to debate the issues facing women working in the creative industries. Members heard from a panel made up of Lynda Rooke (Chair); Jean Rogers (Vice-President); Sara Davies (BBC Radio Producer); Sharon Clark (Literary Manager @ Bristol Old Vic); Mehjabeen Price (Acting CEO Creative England); Esther May Campbell (TV and film director); Sheila Hannon (Show of Strength Theatre Company) and Pippa Warrin from ACE South West. The meeting was a great success and it is hoped will be the first of many regular regional women’s meetings. The committee sent three motions to Council in 2011.

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xix. Young Members’ Committee

The Young Members’ Committee work largely sought to fortify the ideas and activities developed by the previous committee. The Committee has put significant time and effort into developing the Student Representative Structure to create a connection between student members and their union. Not only will this help to familiarise student members with the work of the union, but it will also work as a capacity building project to help to develop the next generation of arts activists from a young age. By reconnecting with old instructors and mentors the committee seeks to ensure that schools and universities have structures in place or structures which can be set up to support young union activists. This year the committee also invested a lot of time in building up relationships with other unions. Committee members have made contacts at events like the Unions 21 and TUC Young Members’ conferences which have strengthened Equity’s connection with the wider trade union movement. It was commented that going to events with other trade unions helps to give us an idea of how decisions are made, and how important it is to build relationships particularly with other small unions.

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CHAPTER 10:

STAFF CHANGES A. RESIGNATIONS Andy Prodger (Assistant General Secretary, Recorded Media) Hannah Packham (London Area and Commercial Tours Theatre Organiser) Laura Thomson (Personal Assistant to the General Secretary) Chris Bateson (Human Resources Manager)

B. NEW APPOINTMENTS Natalie Barker (Personal Assistant to the General Secretary) Paul Fleming (London Area and Commercial Tours Theatre Organiser)

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CHAPTER 11:

MEMBERSHIP A. IN BENEFIT MEMBERS AT 31st DECEMBER 2011 Total

36785

Female Male

18373 18412

London South East Northern Area Midlands South West Scotland Wales International Europe Northern Ireland Missing

13,779 7,705 5,533 2,823 2,452 1,719 1,418 358 352 343 303

B. NEW MEMBERS Actor Film Actor PACT Actor ITV Actor BBC TV Actor Channel 4 Actor Radio Actor TV/Comm Actor West End Actor Com TH Actor Sub Rep Actor Small Scale Actor Tac Actor Opera Actor RSC/RNT/Globe Actor Guidelines Recorded Media Actor Guidelines Live Performance Actor Overseas Actor Fringe TOTAL ACTORS Dancer Film Dancer PACT Dancer ITV Dancer BBC TV Dancer TV/Comm Dancer West End Dancer Com TH Dancer Sub Rep Dancer Small Scale Dancer Opera Dancer RSC/RNT Dancer Guidelines Recorded Media Dancer Guidelines Live Performance

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50 34 18 24 1 4 32 58 41 56 27 3 4 26 30 318 90 4 820 3 1 0 1 1 2 4 0 8 8 2 5 30

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Dancer Overseas 11 TOTAL DANCERS (excluding variety & ballet dancers) 76 Singer Film 0 Singer PACT 1 Singer ITV 0 Singer BBC TV 0 Singer Radio 0 Singer TV/Comm 1 Singer West End 0 Singer Com TH 1 Singer Sub Rep 0 Singer Small Scale 0 Singer RSC/RNT 1 Singer Guidelines Recorded Media 1 Singer Guidelines Live Performance 8 Singer Westminster Abbey 0 Singer Overseas 3 Singer 6 TOTAL SINGERS (excluding variety, concert & opera singers) 22 Stage Management Com Theatre 10 Stage Management Sub Rep 19 Stage Management Small Scale 6 Stage Management Guidelines 11 Stage Management Opera & Ballet 1 Stage Management Variety 2 Stage Management Overseas 0 Stage Management West End 9 Stage Management RSC/RNT 0 Stage Management Fringe 0 TOTAL STAGE MANAGEMENT 58 Variety 285 Variety Singer 128 Variety Dancer 88 Circus 211 TOTAL VARIETY 712 Ballet Dancer 22 Concert Singer 3 Opera Singer 11 Theatre Director 54 Choreographer 16 Theatre Designer 15 Model 20 TV Presenter 8 Radio Presenter 6 Audio Artist 23 TOTAL OTHER CONTRACTS 178 Walk-on 102 Youth Member Upgrade 33 Graduate 634 TOTAL 2635

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CHAPTER 12:

OTHER BENEFITS A. BENEVOLENT FUND £24,072.00 was paid out by way of grants and loans to members during 2011. Members are reminded that they can apply to the Honorary Treasurer for help from the Equity Benevolent Fund, if they are in financial hardship.

B. FOREIGN LANGUAGE REGISTERS The registers, which are maintained at Equity’s head office, continued to be used by employers requiring artists who are able to speak a foreign language fluently with an authentic accent and often to take direction in a foreign language.

C. INSURANCE

Members Public Liability Cover The policy was renewed with the Royal and Sun Alliance in October 2011. a) Full members remain insured for £10,000,000 limit of indemnity including temporary trips World Wide (including USA and Canada) provided that they are usually resident in Great Britain Northern Ireland Channel Islands or Isle of Man. b) Members who have registered under the Equity category of “Model” are insured under the Standard Members Public Liability Cover in respect of their professional modelling activities. c) Student members are insured whilst “participating in self produced productions rehearsals profit share performances and occasional professional performances whilst in full time performing arts education” This cover extends to temporary trips World Wide excluding USA and Canada provided that the student member is usually resident in Great Britain Northern Ireland Channel Islands or Isle of Man. The limit of indemnity is £2,000,000. d) Fire Performers may apply for public liability cover at an annual cost of £58 including insurance premium tax and fee. Equity currently subsidies this premium by £26.50 leaving the member to pay the remaining balance of £31.50. e) Stage Hypnotist can apply for public liability cover at a reduced annual cost of £742 including insurance premium tax. Equity currently subsidises this premium by £125 leaving £617 to pay. 6 claims were recorded between 1st October 2010 and 30th September 2011 with current claims paid and estimated at circa £17,588. Members Accident and Backstage Cover (Excluding Stunt Performers and Arrangers) a) Cover was renewed in October 2011 at the existing benefit levels as follows; Loss of Life/ Permanent Disablement Temporary Disablement Facial Disfigurement (up to a maximum)

£20,000 £125 per week payable for a maximum of 52 weeks £5,000

Cover applies whilst the member is “engaged in an Equity Related Occupation and while in the course of daily travel directly between residence (normal or temporary) and place of Equity Related Occupation”. b) Members who have registered under the Equity category of “Model” are insured on a 24hr basis to a maximum £10,000 in respect of facial disfigurement. Hand scarring is also insured where the member is registered as a hand model. c) Performers Accident MRI/RIB remains at £10.60 per member for £1,000 cover. d) Stunt Performers and Arrangers have been offered cover under their own scheme arrangement administered by First Act Insurance tel 0208 686 5050. Equity currently subsidies this premium by £165. e) Equity members engaged on qualifying West End contracts can extend the Members Accident Cover to operate on a 24 hour a day worldwide basis meaning that accidents outside work would be insured. The cost of this additional is £5 per annum.

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f) The Backstage cover remains at £500. In all cases the other policy terms and conditions remain unchanged. 65 claims have been reported for the period 1st October 2010 to 30th September 2011 with claims estimated at circa £99,671.53 at the present time. Members who have any queries with regards to the Equity Members Insurance Benefits should contact First Act Insurance on tel 0208 686 5050. Full details in respect of all the above are available either on www.equity.org.uk or www.firstact.co.uk .

D. EQUITY PENSION SCHEME (EPS) • Total income from contract related contributions in the year totalled £3,647.988 (up 10.8% on 2010). • Total income from personal contributions (not contract related) totalled £1,423,962 (up 16.7%). • The number of individuals with funds under management is now circa 5,200 with total funds under management exceeding £47.4 million. TV & Film - Total contract related income - £1,287.432 (down 4.3%) • BBC - £503,385 (down 25.4%) • ITV Companies - £578,553 (up 12.5%) • PACT/TAC - £205,494 (up 31%) Theatre – Total contract related income - £2,344,854 (up 11.5%) • SOLT - £1,040,501 (up 13.7%) • TMA Commercial - £348,678 (down 5.8%) • TMA Sub Rep - £357,392 (up 30.1%) • ITC - £419 (up 30.4%) • House Agreements - £535,882 (up 9.8%) • Production Cos – staff schemes - £61,982 (up 14.8%) • Misc – Total income - £15,702 2011 has been a difficult year for everyone with financial markets in turmoil worldwide; however the EPS has continued to buck the trend and attract more members and an increase in contributions overall.

E. LEGAL ADVICE AND PROTECTION The past twelve months have been busy for Equity’s Legal Department. Equity supported a total of 446 cases for breach of contract and 224 cases for personal injury sustained in the course of a professional engagement. We were happy to extend our personal injury litigation service to offer members full cover for accidents that occurred outside their professional working capacity. During 2011 Equity saw a steady increase in the number of claims received from our membership. The new CCFA agreement continued to produce results through Morrish Solicitors LLP acting as the main supplier of personal injury litigation services to members. We also successfully resolve a large number of contractual claims working in partnership with Pattinson & Brewer Solicitors. Under the terms of the agreement the Union receives a small revenue in return for underwriting the risk of PI litigation. These funds are returned to the legal budget to safeguard future legal services. As in previous years Equity had a strong year and successfully represented our members in a wide array of contractual and injury based cases. There were no emergent trends with Equity members sustaining injurys at work in most areas of the entertainment industry. However as a result of the well reported economic recession which was compounded by the cuts made to public spending and arts funding there has been a noticeable increase in members approaching Equity for legal advice in redundancy situations. This factor also arises in contractual negotiations whereby the majority of defendant companies seem to dispute the small payments just as much as high value actions. There has also been a marked increase in the number of non-industrial personal injury cases which demonstrates a wider awareness of the legal services available through Equity membership.

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The figures for year ending December 2011 as far as recoveries are concerned are up on the previous year with the number of claims increasing by 17.5% on contract cases and 22.3% on personal injury related cases. There were a series of disputes arising against agencies with a number of members experiencing difficulties in being paid within the statutory time limits.

F. TAX, NATIONAL INSURANCE, WELFARE BENEFITS & TAX CREDITS Throughout the year we continued to operate the Advice & Rights Helpline on Mondays and Thursdays between 10.00 – 1.00 p.m. and 2.00 – 5.00 p.m. The advice given covered a wide spectrum of issues around tax, national insurance, welfare benefits and tax credits some of which resulted in ongoing casework on behalf of members. As in previous years, enquiries relating to Jobseeker’s Allowance (JSA) generated many calls to the Helpline, with members enquiring about how their claims should be assessed; whether they should be assessed as employed or self-employed; how their Jobseekers Agreement operates in practice; whether they can be required to take part in the Work Programme; what will happen when they undertake work; what will be the impact of their declaring a repeat fee to the Job centre, etc. A significant amount of casework was undertaken on behalf of members throughout the year to ensure that their JSA entitlement was assessed correctly by the Department for Work and Pensions. Housing and Council Tax Benefit continues to provide an essential safety net for many members and problems are frequently encountered when actors claim these benefits. Many Local Authorities make incorrect determinations about the employment status of members which causes various problems for the claimant. This is particularly the case with the Local Authority’s assumption that actors who are not working have self-employed income to be taken into account in the assessment of their benefit entitlement. Other problems commonly experienced by members who were in receipt of Housing and Council Tax Benefit related to their undertaking small amounts of work whilst on benefit or declaring the receipt of repeat fees and royalty payments to Local Authorities. Throughout the year we undertook a significant amount of casework on behalf of members who were having difficulty accessing their correct Housing and Council Tax Benefit entitlement. We made a number of successful appeals on behalf of members and submitted complaints about the maladministration of claims, one of which resulted in a compensation payment being made. Members sought advice from the Helpline about Working Tax and Child Tax Credit and the enquiries made revealed a number of particular problem areas which Equity members experience accessing their Tax Credit entitlement. A common problem experienced by members is establishing that they are working sufficient hours to qualify for Tax Credits. Casework was undertaken where necessary to enable members to establish their correct Tax Credit entitlement or to deal with the tricky area of Tax Credit overpayments. A significant number of calls to the Helpline were made on the subject of disability benefits, with members enquiring whether they would qualify for Disability Living Allowance, Attendance Allowance and/or Employment and Support Allowance. Casework was undertaken on behalf of a number of members and we recovered over £6,000 benefit arrears for one member at a Disability Living Allowance appeal as well as an ongoing award of middle rate care. The Welfare Reform Bill was published in 2011. Whilst some of its provisions showed greater flexibility in addressing the financial needs of workers with irregular hours, it also introduced greater skills conditionality, mandatory work activity and increased sanctions. We were very concerned about the impact of this on members, especially those just starting in the profession, and made representations the Department for Work and Pensions. We sought to clarify how members’ income would be categorised and treated for Universal Credit purposes but by the end of the year this clarification had still not been provided. This clarification is likely to be given in 2012 when Regulations are drafted.

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CHAPTER 13:

IN MEMORIAM Bud Abbott Steve Ace Terry Adams John Adewole Ronnie Alden Sheila Allen Michael Allinson Steven Alvey Ruth Arnaud Gerard Bagley George Baker Trevor Bannister Larry Barnes Julian Battersby Bruce Birchall Mary Blatchford Thomas Bohdanetzky Gina Bon Peter Bond Pat Bonna John Boswall Simon Brint Anthony Broughton Janet Brown Robert Buckman Alfred Burke Susan Burnet Sheila Mary Burrell Johnny Burslem Buster David Buxton Denis Cannan Simon Carter Robert Cartland Keith Cartmell Jonathan Cecil Huw Ceredig Fleur Chandler Victor Charrington Brenda Cleather Carl Clifford Donald Clive Claude Close Elspeth Cochrane Flick Colby Noel Collins

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Jeff Conaway Geraldine Connor Faud Conroy Avril Cookson Georgina Cookson Henry Cooper Jackie Cooper Richard Cooper Robert Corder Nicholas Courtney Derek Crewe David Croft Sean Crummey Smiley Culture Barry B. Dallas Lawrence Dalzell Malcolm Davey John Howard Davies Richard Dawson Jacquie De Creed Jack Denman Alan Devlin Joanna Dickens Paul Dickson Barbara Dowling Andrew Paul Downer Barbara Drew Betty Driver Hal Dyer Len Edwards June Ellis Emile Epstein David Erskine Mike Felix Betty Felstead Jean Fennell Colin Fisher Ray Fisher Kitty Fitzgerald David Fleming Adrian Fletcher Keith Fordyce Irene Frederic John James Fryatt Katy Gardiner Kalman Glass

Hugh Goldie Barry J. Gordon Michael Gough Farley Granger Alexander Grant James Grant Dobie Gray Dulcie Gray Margaret Griffiths Ruth Griffiths Miss Guiti Caro Gurney Paul Gyngell Rosaline Haddon Alan Haines Peter Hammond Lucy Hancock Kate Hardcastle Michael Harding Edward Hardwicke Norma Hardy Alexander Harris Jet Harris Nathan Harris Ronnie Hayward Ruxton Hayward Heavy D Ann Heffernan Richard Henry Mary Henshaw Dudley Heslop Donald Hewlett Jack Hobson Neil Hobson Loleatta Holloway Sue Hopkins Nita Howard Rita Howard Tony Hughes Ken Humphreys Roger Hunt Bonnie Hurren Paul Imbusch Fraulein Inga Margaret Inglis Brian Jacques

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108 Charles Jarrott Miss Joan Margaret John Michael D. Johnson Dora Jones Lynne Jones Stewart Jones Charles Jupp Sena Jurinac Miriam Karlin Dinah Kaye Joanne Keddie Linda Kendrick Mark Kingston Kathy Kirby Lynn Kitch Marion Konyot Martin Landau Michael Langham Michael Latimer Vanda Lee Maureen Lehane John Leveson Russell Levy Sue Lloyd Christopher Logue Michael Lomax Terence Longdon Gordon Lorenz Barry Lowe Lionel Luyt Heather Lynn Ishbel Macaskill Marsail MacCuish Ross MacManus Moira K. Madden Mercia Mansfield Peggy Marshall Hal Mason Anna Massey Paul Massie David Maud Monica Maughan Kathy Maxim Peter Mayock Colin McIntyre Thomas P McKenna Dan Meaden Brian Meadows

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ANNUAL REPORT 2011 Pamela Sandra Mills Jack Minton Mary J Mitchell Joe Mogotsi Angelita Montoya Moonyeen Reg Moores Richard Morant Harry Morgan Islwyn Morris Gavin Morrison Peter Moss Vernon St J Mound Peter Munt Bill Murdoch Stuart Mutch Shirley Neville John Neville John Nicholas Ralph Nossek Toshie Ogura Doreen Oscar Moira Oxley Barry Paine Yolande Palfrey Marie Palmer Helene Palmer Josephine Parker Mervyn Pascoe Betty Paul Jeremy Paul Richard Pearson Wally Peterson Roland Petit Pat Piper Peter Postlethwaite Brychan Powell Bob Preston Margaret Price Jackie Ann Provis George Prytherch Kathy Ann Rae Gerry Rafferty Louie Ramsay Kumar Ranji Jane Rawlins Sylvia Read Dave Redman Anne Ridler

Joseph Philip Riordan Marika Rivera Clifford Robertson Stephen Robertson (i) Joan Rodker Phyllis Roe Edmundo Ros Andrew Luke Rotherham Harry Rowell Jeff The Big Guy Rudom Jane Russell Ken Russell Nicolas Sagar Emma Salt Raymond Savage Jimmy Savile Jon-Paul Scott Angela Scoular Terry Seabrooke Jack Seaton Don Sharp George Shearing Beth Sheridan Peter Shorey Tony Sibbald Olive Simpson Roy Skelton Elisabeth Sladen Ken Smalley Rodney Smith Barry St Claire Mike St John Mike Stamp Charles Stapley Martin Starkie Chris Starr Sylvia Stenhouse Warwick Stephen Luanne Stockwell Antigone Stringer Levi Summers Dorothy Sweeney David Ian Taylor Elizabeth Taylor Eve Taylor Robert Tear James Thomason Steve Tierney Andrea True Connection

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Margaret Tyzack Badi Uzzaman Angela Vale Richard Vaughan Barry Wade John J Walker Barbara Walmsley Nicholas Ward Paddy Ward Christine Way Gillian Webb Stephen Webber Bruce Wells Ken J Whitehouse Norman Whittingham Anwen Williams Nicol Williamson Googie Withers John Wood Rod Woodruff Susannah York David Young Raymond Young Chin Yu (i) not Steven Robertson

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APPENDICES

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APPENDIX 1:

ANNUAL REPRESENTATIVE CONFERENCE MINUTES

THE MINUTES OF THE 2011 ANNUAL REPRESENTATIVE CONFERENCE HELD AT THE IBIS HOTEL, EARLS COURT, LONDON 22ND AND 23RD MAY, 2011 Present: Malcolm Sinclair (in the Chair – President) on Day One and Jean Rogers and David Cockayne (Vice-Presidents) on Day Two. Members of the 2010/2012 Equity Council, Christine Payne (General Secretary), Equity Representatives and Observers The President, Malcolm Sinclair, formally convened the 2011 Conference at 10.00 a.m. on Sunday 22nd May, 2011 and welcomed representatives to Conference. He reminded the representatives of the Fringe Meetings which would be taking place at lunchtime and of the need to vacate the Conference Hall if they were not attending these. 1. OBITUARIES Prior to other business, the President invited Vice-Presidents David Cockayne and Jean Rogers to read out the names of those who had passed away during the year. At the end of these readings, the President added that Jackie Ann Provis had also passed away shortly before Conference. She had been a regular visitor and representative to the ARC and he asked Conference to remember her too in their thoughts. The obituaries were followed by a minute’s silence and a round of applause. The President told Conference that the Rule Change Referendum result would be announced after the Standing Orders report. New Honorary Life Members would be announced at approximately 3.30 p.m. He then invited the Chair of the Standing Orders Committee, Graham Padden, to give his report. 2. REPORT OF THE STANDING ORDERS COMMITTEE (SOC) Before commencing his report, Graham Padden, Chair of the Standing Orders Committee, announced that Carol Marsh’s name had been omitted from the Obituaries List when read out. Graham Padden began by saying that the Working Party on the future of the Annual Representative Conference had now reported and a number of their recommendations had been accepted. This meant, for example, that there were now no allocated tables for Council/Observers in the Conference Hall but that all representatives were mixed in together. He explained that the Standing Orders Committee was responsible for drawing up the Conference timetable. The President’s address and the General Secretary’s address were now time-limited to twenty minutes and thirty minutes respectively. The Chair went on to explain other timetabling issues to Conference including the arrangements for the Open Space session, the Organising for Success session, the ‘Finding your way through the jargon’ session and the Organising in the Regions session. He also explained the correct procedure for remitting or withdrawing a motion or accepting an amendment to a motion. For the benefit of representatives new to Conference, he explained the rules governing Conference procedure and referred Conference to the Standing Orders on the back of the Conference agenda. He also explained the timings available for the mover and seconder of motions and the Right of Reply. Finally, he told Conference that there were three more motions than in 2010 but he was hopeful that they would all be reached – Motion 12 had already been remitted to Council. This concluded the report from the Chair of the Standing Orders Committee. 3. REFERENDUM RESULT The General Secretary, Christine Payne, announced the results of the Rule Change Referendum. She said that the question had been put as follows: “Do you approve of the Equity Rules as set out on page 10?” She went on to announce the results which were as follows: Yes – 1,906, No – 1,150 with five spoilt ballot papers and a total of 3,061 votes cast. She said that many had been aware of an issue involving the Closing Date of 18th May, 2011. Through an error at the union, rather than at the Independent Scrutineers, the ballot papers had gone out showing a closing date of 6th May. On 18th May, the scrutineer had compared the Yes votes cast on that date with the Yes votes cast on 6th May. The Yes vote on 6th May was 62.72% of the total votes cast and the Yes vote on 18th May was 62.36% of the total votes cast. On that basis, the General Secretary said that the Scrutineer had decided that the additional voting period had made no material difference to the outcome. She concluded by saying that the membership had therefore voted to approve the rule changes. 4. ADDRESS BY MALCOLM SINCLAIR, PRESIDENT The President began his speech by saying that in his capacity as President he had already visited many Drama Schools and made several recruitment speeches. Today, however, he did not wish to speak about recruitment but rather to examine the question of what the union was for. He said that actors were often thought of as selfish but this had not been his experience; in fact, most performers wished to be part of a collective, to improve working conditions and win respect. The question was how to do that - the answer was by accumulating power and using that power wisely. Reflecting on his early days in Council, he said that he had initially been persuaded to join Council by Miriam Karlin and Imogen Claire. His first two years on Council had been a learning process after which he began to feel he could make a contribution. He said that the industry was changing faster than we could imagine and we had to change as well; there were new innovations every two or three years and we had to adapt to these. We were all getting older, and although younger members were being recruited, there were not enough who were active in the union. The activist base was getting older and there were also financial constraints – considering the very difficult times we were living through membership levels were

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good but subscriptions were down due to people earning less money. The President then considered what the biggest expense of the union was. This was staff time. The union wanted good staff and wished to keep them but it was vitally important how staff time was used. This raised questions such as whether there were too many committees or branches or variety branches? Was the Council or the VAC too big? Should the committee system be based on industries and not specialisms? Do we need to have an ARC every year? Is it worth the money? Could we do it every two years instead? He then turned to the Equity website which he said was now fit for purpose and wished to express his thanks to Phil Pemberton, Publicity and Campaigns Officer, who had done an amazing job. He said that the website would change everything as so much now functions online. Debates and information would be online and the default position for members would be to look for information online. He understood that policy was made by the ARC and the Council but nevertheless, in the future, sacrifices would have to be made. Stephen Spence, the Assistant General Secretary, Industrial and Organising, was seeking to move the union from being a servicing union to a campaigning and organising one and the Manifesto for Theatre document was symptomatic of this. In the President’s view, this was a fantastic achievement and he wished to thank Frances Rifkin, John Gillett and Patricia Doyle for their contribution to it. It provided a clear policy focus which was much needed at a time when there were many issues in theatre, not least the use of amateurs and students in productions. The most important event in the past year had been the Arts cuts – however, there was now a better relationship with Arts Council England (ACE) and a more constructive engagement. In terms of funding at a local level through local government, Area branches had a vital role to play in keeping the union informed. In Variety, many venues were closing and work opportunities were diminishing. However, having insufficient representation in a particular sector could make negotiations impossible as the union had found in relation to a recent negotiation where fewer than 50% in that sector were members. The demands being made were fair and reasonable but there was no way to carry them forward. The President thought, however, that there were reasons to be hopeful; at the recent TUC March and the event at the Central Hall, Westminster he had seen actors, performers, designers and stage managers who had never been at Equity events before. Excellent speeches had been made at Central Hall by Joseph Kloska and Benedict Cumberbatch whilst on the TUC March it was estimated that nearly 1,000 members had been present and there had been a marvellous speech by Sam West. The President concluded his speech with a quote from Donald Sinden who in turn was quoting Sir Francis Bacon: ‘every man is a debtor to his own profession’. All he wanted Conference to do in the next two days was to discharge that responsibility. 5. SPEECH BY CHRISTINE PAYNE, GENERAL SECRETARY’S SPEECH INTRODUCING THE ANNUAL REPORT Prior to speaking, the General Secretary introduced a short film about the work of Equity to those present. This was greeted with enthusiasm and the General Secretary thanked Phil Pemberton, the Campaigns and Publicity Officer, for his work on the film and also on the re-launched Equity magazine, the Review of the Year, the new Equity Website and the Annual Report. She went on to talk about some of the achievements of the past year including the TV Commercial Terms of Agreement with the Advertising Industry and the work of the working party led by Vice-President, Jean Rogers and the first even Agreement for Fashion Models brought about through the work of the Models Committee and Hilary Hadley, Head of Live Performance – both of these were member-led initiatives. She said it was a matter of pride to announce the Rule Change referendum result. Four years ago, the Minority Ethnic Members’ Committee had picked up the need to have Equal Opportunities included in the Rule Book and as a union we needed to not just say what we believed in but also act to deliver our belief in equalities. The union now had a rule which stated that no member should display behaviour towards another member which amounted to harassment, prejudice or unfair discrimination. This put us in line with the rest of the union movement – something she would be proud to say at the TUC later in the year. This was also the first time that the Council had decided to actively support a vote on a rule change and the first time the General Secretary had ever done that. She hoped that Conference would support her right to stick to her beliefs and make clear those issues she thought to be of vital importance. She went on to talk about the UK Film Council – this had been a success story supporting films such as ‘The King’s Speech’ and ‘Made in Dagenham’. £160 million had been spent on films in the last ten years and they had grossed £800 million for this country and created 36,000 jobs. For every £1.00 invested in films, there had been a return of £5.00. However, despite all this, the government had decided to cut the UK Film Council. She thought this was an act of vandalism and she hoped we do not live to regret this. We would need to see now how the British Film Institute (BFI) and Creative England managed;. it would be a huge detriment to this country if the initiatives of the UK Film Council were lost. In the course of 2010 the British Equity Collecting Society (BECS) had moved into Guild House. This gave BECS a secure home for the next five and a half years and gave the union a distribution agency that we could be confident would distribute monies effectively. The Recorded Media department had been responsible for collecting and distributing monies amounting to £14.5 million over the past ten years which had a lot to do with the work of one man, Nick Craske, Royalties and Residuals Manager, who had recently celebrated 25 years with Equity. The General Secretary went on to show Conference a series of slides: the first showed the collection and distribution of monies under collective agreements since 2007 – money from films and DVD sales. The second showed the undistributed funds from cable retransmissions amounting to £22 million distributed by BECS over the previous ten years and the third the amount distributed since 2003 for additional use under the TV and Radio Agreements. The fourth slide showed money distributed directly by BECS in the previous ten years amounting to £12 million. This therefore amounted to a total of over £50 million collected by Equity and BECS and distributed to members in the past ten years – a phenomenal record. She went on to pay tribute to the work of Andy Prodger, the former Assistant General Secretary for Recorded Media, who had led the negotiations for the Films Agreement, with BBC, ITV and Channel 4 over BBC7 and Video on Demand and the new agreement on Commercials Terms and Conditions. For the past three years he had also been part-time Chief Executive Officer of BECS. She said there was a deep appreciation for the work he had done for all members. In May 2011 he had taken up his

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position as full-time Chief Executive of BECS and she wished him every success in his new job. This had been a year dominated by cuts – since Autumn 2009, the union had been heavily involved in campaigning against those cuts already made and those planned. The BBC had suffered a 20% cut, but cuts in theatre had been potentially the most damaging: DCMS has been cut 25% and local authority budgets by 7.1% per year for the next four years. Only 15% of theatres were funded through Arts Council England which itself had been cut by 30% plus 15% last year. All regularly funded organisations would have cuts of 6.9% from April 2011 and 15% from April 2011 going forward. 1,340 organisations had applied for funding, 700 were successful and 200 had lost funding altogether. On the positive side, relations with Arts Council England had been better than in recent times. The General Secretary went on to praise the campaigns run by Equity during the year including the Manifesto for Theatre conference and the marches in Glasgow, Belfast and Birmingham and at the TUC rally in London. A letter from 49 high-profile members was published in “The Guardian” on the eve of the Olivier awards and a petition was delivered to Downing Street. Her view was that the union had done all it could to highlight the importance of the industry and the potentially devastating nature of the cuts. Over the next twelve months the cuts would continue – theatres would close and members would be affected. There was a need to organise like never before and the union needed members to get involved. She went on to show Conference a slide which illustrated the trends in membership over the past ten years. Membership had risen from 35,000 to 36,500 although the trend had been up and down over the period. The union was heavily reliant upon membership income and the collective funds were no longer available so that it was necessary to build and grow the union. She illustrated the split between paying members and life members but in 2011 so far the union was standing still. There needed to be a focus on increasing membership - student membership had really grown and young members were the future but student members needed to convert to full members. It was necessary to get into workplaces and gain support so that the union was able to negotiate more effectively. She referred to the West End Agreement which came about not just due to the negotiating skills of Stephen Spence but also because members were prepared to make a stand. There was now the potential for membership to reach 40,000 and, if the TUC General Council changed its rules in the way the union wanted it to, Equity could have a permanent place on the TUC Congress. She wished to thank her fellow officers – through a difficult year, they had supported her and listened and she was grateful for that. She also paid tribute to the commitment, hard work and dedication of the staff. She also thought it important to thank the union’s sponsors: First Act, the Co-operative, Chantrey Vellacott, Morrish & Co. and Pattinson & Brewer. Thanks were also due to Simeon Andrews and Stuart Watkins who ran the Performers’ Alliance Parliamentary Group working with Equity, the Musicians’ Union and the Writers’ Guild. This Group was chaired by Genista Mackintosh with Don Foster as Secretary. John Whittingdale, one of the Vice-Presidents, helped the union’s voice be heard in Parliament. With regard to branches and committees, the General Secretary thought it was necessary to look at how these could best deliver. Without branches and committees, there would not have been 1,000 on the TUC march. The Equity banner was now 75 years old – Equity was a proud, passionate and caring union but difficult to organise as most members were out of work at any one time. In the next 75 years, the union would need a new banner which could tell the story – that was our gift and responsibility. She thanked Conference for voting her in as General Secretary for another five years and starting the union off on its continuing journey towards the next 75 years. ___________________________________________________________________ MOTIONS ON POLICY, PART 1 WERE THEN TAKEN 6. APPEAL ON BEHALF OF EQUITY’S INTERNATIONAL COMMITTEE FOR ARTISTS’ FREEDOM (ICAF) Jessica Sherman spoke as the representative of the International Committee for Artists’ Freedom. She explained that this was a group of forty members who co-ordinated campaigns in solidarity with artists facing persecution around the world. She said that whilst she and other members of the union had been able to take part in protests against the arts cuts in this country without fear of persecution there were many places in the world where it was incredibly dangerous to stand up for your artistic beliefs. She spoke about the Freedom Theatre in the Middle East and its work since 2006; this provided drama therapy, film-making courses and education services and was based at the Jenin Refugee Camp in Occupied Palestine. It had staged many plays some of which were openly critical of both the Israeli and Palestinian regimes. On 4th April this year the Director of the Freedom Theatre, Juliano Mer Khamis had been shot dead outside the theatre. She also spoke of the Belarus Free Theatre which had to communicate performances to its potential audience by text message, where it was possible for audience members to be arrested and the makers of the production imprisoned. There were other members of the profession facing persecution around the world such as the film-makers in China and in Burma and the Roma circus artists who had been expelled by the French government. She thanked all those present for their generosity towards ICAF and hoped that they would all feel able to contribute to the collection today. Conference then broke for lunch. DAY ONE – AFTERNOON SESSION The President announced that the ICAF collection had raised £475.54 7. ADDRESS BY ALAN DAVEY, CHIEF EXECUTIVE, ARTS COUNCIL, ENGLAND In introducing Alan Davey the President said that over the years the relationship with the Arts Council had been up and down but since Alan Davey and Barbara Matthews, the Director of Theatre for the Arts Council, had been in post relations had improved. These were very difficult times and the Arts Council had been faced with some very difficult decisions. Alan Davey began by thanking Equity for the invitation. He said that it was daunting to be addressing such a talented

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audience. At the outset, he wished to thank Equity for all its campaigning work which had kept theatre and other art forms on the agenda. There was a 30% cut in Arts Council funding going forward, slightly mitigated by an increase in lottery share but exacerbated by local government cuts. Further local government decisions were awaited which would lead to some difficult discussions. He said that he was keen to avoid going back to the 1980’s cycle of despair when it came to arts funding. What was important was to develop a clear and rational advocacy with a debate on how and why the arts should be funded. Art was at present at the bottom of the Treasury list and the importance of the arts was being questioned. This country had a very fine tradition of doing the arts well and needed to find new arguments to support what we did. In this respect, Equity was in a powerful position to raise public awareness and needed to work side by side with the Arts Council in the next few years. Alan Davey said that he was proud of regional theatre and years of investment were now paying off. Productions such as ‘Jerusalem’ and ‘War Horse’ had been a significant international success and they were both a product and a reflection of a thriving national theatre ecology. The last spending round had been an historic one, as for the first time organisations were asked to apply for Arts Council funding and the process on how to do so and how to express an interest had been made transparent. The Arts Council had set out its vision in a document called ‘Achieving Great Art for Everyone’ which set out the framework for the next ten years. A salami slicing approach had not been feasible and the onus had been on the Arts Council to make hard decisions – with 30% less money it was impossible to do everything, hence the 15% cut to arts organisations. Alan Davey went on to describe three key areas in the work of the Arts Council: firstly, he said that he thought that the Arts Council had succeeded in protecting the backbone of regional theatres. They had a crucial role in developing talent and supporting independent companies that were important to the local communities. The second key area was investment in new writing which the Arts Council continued to support through funding for events such as the High Tide Festival and 24/7. A third aim was to maintain the funding of a richly diverse portfolio of high quality theatres such as Capello and Red Earth. This included supporting touring where significant lottery money would be invested in the future. However, the Arts Council was also a development agency – money had to be used strategically and development of various kinds encouraged. There was still work to do geographically in areas like Exeter and Derby and there was concern about the development in specific areas such as BME theatre. Investment was needed in touring, buildings and digital technology and philanthropy needed to be encouraged. The view of the Arts Council was that a mixed economy was needed for the arts – a combination of public funding and corporate sponsorship. Only 2% of philanthropists give money to the arts and there was a need to look at future sustainability and the key to this was people. In fact, most philanthropists themselves believed in public funding for the arts. It was vital for artists to make a decent living and vital that performing was seen as a sustainable career option. He explained that this was part of his work as a member of the government’s Task Force for Access to the Professions. We need to keep making the arguments. As the American trade union leader, Joe Hill, said: “don’t mourn, organise”. We need to make sure people make great art and as many people as possible get to see it. The President thanked Alan Davey for his speech and Alan Davey and Barbara Matthews then took questions from the floor following which the President thanked them for coming. MOTIONS ON POLICY – PART TWO WERE THEN TAKEN. 8. AN INTRODUCTION TO THE OPEN SPACE SESSIONS John Carnegie gave Conference an introduction to the Open Space sessions which would be taking place between 1.30 – 2.25 p.m. These would be open to staff, representatives and observers. He explained the procedure for participating and asked that those interested in convening the Open Space sessions at the next ARC to put their names forward prior to the end of the Conference. 9. HONORARY LIFE MEMBERS Henrietta Branwell The President introduced the awards of Honorary Life Membership – the first was to a member who had joined the union in 1978 and had been on Council from 1979-1994. She was elected as Walk-On Councillor in 2008 and is currently on Council. She had been a member of ICAF since the 1980’s and in 2010 was elected as a trustee to IPAT. She had been a member of the Stage Management Committee, of the South East Area Committee for 23 years and the Thames Valley Variety Branch for 11 years. She had chaired the Equity Staff Pension Scheme since March 2004 and had been a trustee for over 20 years. The President said that she had also worked on the Equity Staff Pension Fund during a period of enormous and difficult change and the fact that the union still had a scheme which benefited staff whilst not being unaffordable was largely down to her. Honorary Life Membership for 2011 went to Henrietta Branwell. Henrietta Branwell said that she was lost for words at this honour and thanked all those present. She had no idea and it had come as a complete surprise until the citation started. Zarganar The President went on to the second award which was to be made to Zarganar, the Burmese comedian, film actor and director. He had been a long-standing critic of the Junta in Burma and was the most popular comedian and satirist in his country. In September 2006 he was banned from performing in public and in June 2008 was arrested after speaking openly to foreign media about the after-effects of Cyclone Nargis. Following this in the same year he was sentenced to 59 years in prison commuted to 35 years on appeal. He was the winner of the first ever Freedom to Create award for imprisoned artists. There had been a high-profile campaign to free Zarganar which had included a postcard campaign by Equity. 50,000 postcards had been sent to the Burmese authorities and a video about Zarganar had been made featuring the comedian Andy Parsons which had been widely distributed. Equity and ICAF would be continuing the fight for Zarganar’s release. The award of Honorary Life Membership was accepted on Zarganar’s behalf by Hthein Lin, a fellow Burmese artist and

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campaigner for freedom of speech. He said that he was accepting it on behalf of Zarganar, his family and the people of Burma. Zarganar had been his mentor and a good friend for 25 years and had originally encouraged him to become a comedy actor and artist. He was currently the most important artist in Burma fighting for freedom of speech. In 1988, Zarganar had helped to establish the Writers/Artists union in Burma and in 2007 had been the most important supporter for the Burmese monks during the Saffron revolution. Now, he was continuing to fight against injustice even in prison. Hthein Lin said that he was sure that Zarganar would become aware of the award through the BBC Burma service and Radio 3 Asia. He said that Equity’s solidarity would be an inspiration to Zarganar. He thanked the union for its support for Zarganar and for all those imprisoned in Burma due to their political beliefs. 9. REPORT FROM STEPHEN SPENCE, THE ASSISTANT GENERAL SECRETARY, INDUSTRIAL AND ORGANISING Stephen Spence referred to the Live Performance report and supplementary report. He began by thanking all the staff in the Live Performance department including Hilary Hadley, Head of Live Performance, a leader of courage and skill. He thanked the Officers and the other members of the Senior Management Team including the General Secretary now happily fully recovered from her horrible fall at the end of 2010. He said that the reports showed the focus, discipline and determination to prioritise practical and realistic approaches to the challenges which faced the union. He wished particularly to comment on two areas: 1) The Cuts and 2) Entertainment Licensing. He said that in theatre for every £1.00 spent, £2.00 was generated in revenue. In 2004 theatre had received £121 million in government investment and generated £2.6 billion in income. So why did the government think it necessary to cut the arts? The answer lay in ideology, the ideology that everything must be cut in order to stimulate growth and in order to lift the UK out of recession. However, the National Endowment for Science, Technology and the Arts predicted that, with government support, an annual growth rate of 9% could be achieved by 2013, boosting gross value added to £85 billion; these were growth and return rates usually only seen in China. In 2010 the Equity Council wrote to the Coalition Government outlining the case for continued arts funding but was unable to prevent the 30% cuts to the Arts Council budget and massive local government cuts. Since then the union had written, marched and leafleted and sought meetings with politicians. In March of this year, high-profile members had written to The Observer to make the case. The government sought to claim that lottery funds, including money diverted from the Olympics coming back, would make everything alright but we had seen, for example, a 100% cut to the Somerset Council arts budget. 1,000 people had marched behind the Equity banner at the TUC Rally on 26th March; there had been similar marches in Wales and Northern Ireland whilst Scottish members had set out their vision in the election campaign. In Northern Ireland, Equity was successful in getting 20% arts cuts reduced to 5% thereby enabling a number of theatres to keep going. Despite the fact that for every £1.00 you spend, you gain £2.00 neither the Prime Minister’s nor the Chancellor’s office would engage with Equity. Stephen Spence contrasted this attitude with that of John Penrose, the Conservative MP, who had worked closely with Don Foster from the Liberal Democrats on an issue which greatly concerned members – Entertainment Licensing. John Penrose had met twice with the union and departmental officials were also sent to meet with us. Real obstacles were identified and worked through and the Sunday Times had carried a report on the desire to remove regulated entertainment from the Act. Shadow Culture Minister, Ivan Lewis, had shown a similar flexibility in his discussions with Equity. This approach strongly contrasted with the attitude of David Cameron and George Osborne to any dialogue on the cuts. Stephen Spence concluded by talking about the launch on the 15th June of the Lost Arts website, a chronicle of what had been lost and damaged as a result of the recent arts cuts. In this context, he wished to echo the comments of Sam West in his speech at the TUC Rally: ‘this government understood the cost of everything but the value of nothing.” Equity, he said, would hold the government to account. MOTIONS ON THEATRE WERE THEN TAKEN. MOTIONS ON EQUAL OPPORTUNITIES WERE THEN TAKEN The proceedings of DAY ONE concluded at 6.00 p.m. DAY TWO Jean Rogers, Vice-President, reconvened Conference at 9.30 a.m. and reminded everyone about the need to claim expenses. She also reminded Conference about the Equal Opportunities questionnaire and the Methuen Drama questionnaire – both of which needed to be returned in due course to the registration desk. 10. REPORT FROM MARTIN BROWN, ASSISTANT GENERAL SECRETARY, COMMUNICATIONS AND MEMBERSHIP SUPPORT Martin Brown spoke about the campaigning and communications work of the union. The Coalition Agreement had been finalised on 20th May 2010, just three days prior to the previous Conference at the Ibis Hotel. In the Autumn spending review of that year, the Department for Culture, Media and Sport had taken a big hit with a 25% cut staged over 4 years and a 30% cut to Arts Council England. In March, 2011 Equity got details of a host of theatres which would be cut by 10 or 15% or some would be cut altogether whilst local Councils were slashing arts budgets. There would be no Arts Council funded theatres in Somerset and the entire local authority arts budget for that county had been cut. There were cuts of £160,000 in Moray, £1.7 million in Darlington, £100,000 at Hull Truck Theatre, 50% cuts in Birmingham and £3 million cuts in the financial support provided by London Councils which would affect theatres like the Theatre Royal, Stratford East and the Tricycle Theatre. In Yorkshire, the Stephen Joseph Theatre had suffered cuts from £63,000 to £10,000 and in Liverpool the Everyman theatre and the Playhouse had a 20% cut. This double hit may force many Equity members to give up the profession creating one of the worst ever periods for the public funding of the arts in this country. We now lived in a country ruled by philistines who appeared to know nothing of the value of the performing arts. He referred to the Equity Theatre Manifesto which sets out why performance is crucial and why it is worth defending and

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quoted the following extract: ‘Live Performance is the most directly human of art forms creating a living record of our history and civilisation; it challenges, enlightens, entertains; it provokes thought, feeling and change in audience and participants; it brings joy and explores human experience in a way factual material cannot; it engages our senses, feelings, will and imagination as well as our intellect; it helps us get our bearings in the world and understand ourselves and others and our place in society’. Among the actions already taken by Equity had been the following: 1) Writing to Council leaders making the case for arts spending, 2) producing campaigning materials for committees, branches and individuals, 3) publicising local demonstrations, 4) making people aware of the arts cuts through Facebook/Twitter and other social media outlets, 5) briefing branches and committees on campaign strategy, 6) submitting Parliamentary Questions and preparing Early Day Motions, 7) holding meetings, briefing branches and committees on campaign strategy, 8) organising high-profile performers through a letter to The Observer, 9) taking over 1,000 members to the TUC Rally on 26th March and 10) getting a small group of key performers to deliver a petition to 10 Downing Street to demand an Arts Summit. However, all this in itself was still not enough – every member of the union now needed to get actively involved in the fightback. Information technology was of vital importance in campaigning and the union had a new website and a new membership database. The website could bring together huge amounts of information and emails, newsletters and bulletins could be communicated to members according to their needs. With the membership database it represented the biggest and most ambitious IT project ever undertaken by the union. Now the activist could control the flow of information and it was a website which genuinely belonged to members with pages for branches, committees and campaigns. It was essential that the union made full use of this as a campaigning tool. He said that this progress could not have been made without a dedicated team who were even prepared to work at evenings and weekends. He invited Conference to show their appreciation of the Communications & Membership team in the traditional way and concluded his address. MOTIONS ON COMMUNICATIONS AND MEMBERSHIP SUPPORT WERE THEN TAKEN. 12. BRYN EVANS, HONORARY TREASURER’S SUBMISSION OF ACCOUNTS AND BALANCE SHEET FOR 2010 The Honorary Treasurer said that no one at Conference would be unaware of the difficult financial times in which we were living. And with the cuts implemented by the Coalition Government, both in direct arts funding and in the funding of local government, things were likely to get worse for our members and, therefore, for this union. But his principal job at an ARC was to report on the finances and accounts for the year ended on 31 December and he was pleased to report that, for the fifth year running, Equity achieved an operating surplus in 2010. There were however some warning notes for the future which he would return to later in his report. At last year’s Conference, he was only able to indicate the changes that the Council was proposing with regard to the Equity Staff Pension Scheme as these changes were still under discussion with our staff. He was happy to say that matters had been concluded and that the new arrangements came into force on 28 July, 2010. There will continue to be a Defined Benefit scheme but with a much lower annual accrual rate. We have opted back into sp2 – the State secondary pension. And there would be a small Defined Contribution element, where the money invested fluctuates in value according to market forces. In this way we have shared the risk between Equity as the employer, Equity staff as employees and the State via the secondary pension. We have also broken the salary link. This means that, as regards the previous scheme, the percentages accrued will relate to an individual’s salary in July 2010 and enhanced by inflation rather than their final salary when they retire. And we have maintained the employer’s contribution at its present level of 25% of salary. These new arrangements reduced the burden of the Staff Pension Scheme but they did not eradicate it. The Pension Scheme would continue to expose Equity’s finances to risk; but the new arrangements reduced that risk significantly. We appreciated the co-operation of our staff in agreeing to these changes which have undoubtedly involved a worsening of their working conditions. Conference had already had the opportunity to acknowledge the contribution of Henrietta Branwell as a tireless and effective Chairman of the Pension Fund Trustees. But there was another person whose contribution he wished to bring to Conference’s attention. For many years, as part of his responsibilities as an Assistant General Secretary, Andy Prodger had been the member of staff looking after the Staff Pension Scheme. His contribution had been tremendous- the Honorary Treasurer did not know how we would have got through the difficult process of making these changes to the Pension Scheme without his assistance. Andy had of course now left Equity’s employment to take up his new position as full-time Chief Executive Officer of BECS and he wished him well for the future. We were very grateful to him indeed. The other major development in 2010 was the arrival of our collecting society, BECS, on to the first floor of Guild House. This involved moving the Council Room from the first floor to the ground floor and the May Whitty Room and the Officers Room from the ground floor to the basement. As we had the builders in, we took the opportunity to make some necessary changes to the front door, to Reception and to the disabled loo to improve access for our disabled members and to comply with DDA, the Disability Discrimination Act. The reorganisation of the building to incorporate BECS within it did involve us of course in some expense, but he said that this would be recouped from the rent that we will receive from BECS over the initial five and a half years of the lease that they had signed with us. For a number of years, Note 23 in our Accounts had contained a reference to monies held since between 1995 and 1997 for which we could not determine the provenance. As reported in this year’s accounts, in 2008 the union had employed a firm of forensic accountants to investigate the matter but their report was inconclusive. We have reluctantly had to accept that, with the passage of time and the incomplete paper records that we hold from that time, we will never be able to determine the provenance of these monies totalling some £1.3 million pounds with any degree of accuracy or certainty. He said that the union was now in the process of applying to the High Court for permission to use these Unknown Funds for the union’s general purposes. If we obtained that permission – and that is by no means certain – the Council had determined that these

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monies would be used, over time, for the general benefit of the Members – the form of words that we have always used with regard to ex gratia payments that are not distributable. As yet we had not been allocated a date for the court hearing. The General Secretary and Honorary Treasurer had issued two reports to Members on this matter and both reports were available on the Members’ section of the Equity website. The Honorary Treasurer then turned to the Annual Accounts. He said you could see that in 2010 our Total Income increased by 7.71% to £5,946,713 while our Expenditure increased by 8.2% to £5,787,424. The Operating Surplus (Income minus Expenditure) was therefore £159,289. Directly below the operating surplus was the section headed “other gains and losses”. In 2010, we made a profit on the sale of investments of £76,518. As regards the Staff Pension Scheme, there was an actuarial loss of £418,000, calculated as always under the complex FRS17 regulations. The overall deficit for the year was £182,193, which is calculated from the operating surplus of £159,289 less the total figure of “other recognised gains and losses” of £341,482. This means that, as at 31 December 2010, our Net Assets had reduced to a figure of £8,525,711. The Honorary Treasurer then went into some of the details contained in the various notes to the Accounts. Referring to Note 1 on Page 28, he said that subscription income – the core funding of our union – was £3,829,180, a decrease of £16,385 on 2009. Given the very small reduction in our membership figures, this demonstrated that there has been a migration by members to the minimum subscription rates. Of those paying a subscription, 94% were now paying the minimum. This was not really a surprise; given the cuts in arts funding, work opportunities for our members were less than they were – and the position was likely to get worse. Income related to Members and other performers increased in 2010 to £1,421,134, an increase of £234,007 on the 2009 figure. But this was unlikely to be repeated. Contained within these figures were two payments from ITV: £21,905 re Belgian cable and £141,155 re Irish cable. This was the last time that these ITV monies would appear in our accounts. As previously announced, Equity Council had decided that, from now on, the ITV cable retransmission monies would be distributed to members on our behalf by BECS. This was of course the right decision, which the Honorary Treasurer fully supported – but it did mean that the union’s income receipts would be around £200,000 less in future years. Our investment income in 2010 was again lower than in the previous year - £409,530 compared to £473,468 in 2009. With interest rates as low as they were, this was to be expected. Total staff costs were £2,695,922, an increase of £54,153 or just 2.05% on the previous year. He referred to Note 7 on page 29 headed “benefits to members”. Equity had spent a total of £935,126 on these benefits, £206,719 more than in 2009. This section included £418,026 on Legal Aid for members, £31,203 in Funeral Benefit and £26,790 in financial assistance to members from the Benevolent Fund. It also included the two insurance policies that we take out for every member – Accident and Backstage insurance and Public Liability insurance of £10 million pounds for every Equity member. These two policies cost the union a total of £289,488. This was just a small amount of the work that Equity did for its members. To continue to do this, the Honorary Treasurer said it was vital that we kept control of both our income and expenditure. He was pleased to report that the union’s administrative expenses actually fell in 2010 coming in at £344,593, £11,517 less than in 2009. There were significant reductions in both computer support and in telecommunications. A new telephone system had been installed which was working well and costing us much less. He then provided a breakdown of the figures for international organising shown in Note 12. The total figure was £22,242 which consists of £6,105 spent on attending meetings of FIA (the International Federation of Actors), £2,881 covering the cost of visits by Andy Prodger and John Barclay to the USA in connection with our films agreement and £13,256 which related to our twinning arrangement with the Ghana Actors Guild – although this last figure included sponsorship received from the TUC to the tune of £2,460. The Honorary Treasurer then issued some warning notes for the future. Firstly, the union would no longer have the benefit of the ITV cable retransmission monies and that this would reduce our income each year by around £200,000. The Honorary Treasurer then referred Conference to the figures for Legal Aid. This was a sum of £224,937 so far spent in supporting a member of the union in a defamation case. These costs already incurred are pre-trial costs and there would be further costs in 2011. As at the end of April, our membership figures were slightly down on the same time in 2010. As the cuts imposed by the coalition government started to bite and job opportunities decreased, this downward trend might continue. We would of course redouble our efforts in respect of recruitment and retention, but this might be difficult. The Honorary Treasurer said that the union was currently projecting a budget deficit this year of nearly £600,000. Before ending this report, the Honorary Treasurer wished to thank Duncan Smith, our Head of Finance, and Richard Mason who assists Duncan. Their help to the Honorary Treasurer had been invaluable. He also mentioned the union’s auditors. Following the retirement of Nigel Gooch, the team at Hard Dowdy was now led by Philip Clark. Phil had given us a great deal of help and assistance throughout the last twelve months. The Honorary Treasurer concluded by reading the final paragraph form his report in the Review of the Year which read as follows: “In 2010, the union was able to buck the trend of other trade unions and maintain its membership figures. We again achieved an operating surplus (£159,289); there was however a reduction in our net assets which now stand at £8,525,711. The union’s financial position therefore remains strong but, in these uncertain times, the future looks more challenging. I commend these accounts to you.” MOTIONS ON INTERNAL UNION BUSINESS WERE THEN TAKEN Conference then broke for Lunch. DAY TWO – AFTERNOON SESSION The Monday afternoon session of Conference was chaired by David Cockayne, Vice-President. Prior to further business, he introduced Graham Padden, Chair of the Standing Orders Committee who announced that Motion 24 would be dealt with

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after the next set of motions time permitting. MOTIONS ON LIVE PERFORMANCE - VARIETY, LIVE ENTERTAINMENT AND CIRCUS WERE THEN TAKEN TOGETHER WITH MOTION 24 WHICH HAD BEEN CARRIED OVER. 14. REPORT FROM STEPHEN SPENCE, ASSISTANT GENERAL SECRETARY, INDUSTRIAL AND ORGANISING. Stephen Spence referred representatives to the Annual Report and the supplementary report on Recorded Media. He said that he had taken over responsibility for Recorded Media on 1st May, 2011 under the direction of the General Secretary. He acknowledged the strong work of the Head of Department, John Barclay and the staff in his team and also wished to pay tribute to Andy Prodger, his former SMT colleague and the former AGS (RM) to whom the union had many reasons to be grateful for the vision and direction of Recorded Media during the years that he was at the helm. Under Andy Prodger’s leadership the work in this year’s report was carried out. He explained that because of his other responsibilities in Live Performance and Organising, he would not be able to oversee Recorded Media in the way that Andy did. In this respect, John Barclay would be taking the lead in the day to day running of the department and in advising on policy whilst he would take on the lead role in negotiations and in strategic overview. The priority would be to maintain and renew collective agreements. Pan-Industry agreements were a thing of the past and agreements were now reached on an employer by employer basis. The aim would be to try and ensure that the impact of the cuts was minimised in terms of the collective agreements, particularly in relation to the BBC. Stephen Spence thought it was right that a three year Films Agreement had been concluded – especially in view of the abolition of the Films Council and in the current economic climate. There would now be a big push to advance the audio agenda and look at rates of pay in all areas including digital downloads. In this respect, singers would become a priority in terms of both recruitment and the updating of agreements. The Low Pay/No Pay Rights Working Party would be looking at how greater adherence to Equity Agreements and the National Minimum Wage legislation can be achieved to ensure a more responsible attitude towards these issues within the industry. This would include updating information and improving communication to members.. There was also the auditing process set out in the Annual Report which would seek to ensure an appropriate remuneration for past work and adequate repeat fees and residuals throughout Recorded Media. There was a need to discuss the future of broadcasting in the UK. National broadcasting structures and funding mechanisms were being challenged in a number of ways. The debate had been triggered by the decision to give S4C to the BBC and the election of the SNP as the ruling party in Scotland with devolved broadcasting being high on their list of priorities. Stephen Spence thought, however, that there should be a conversation with the FEU before the Working Party proposed any change in policy. The focus should be on what was in members’ best interests and industrial concerns should be prioritised. The initial priorities were to get the BBC negotiations moving, to find a way forward with the BPI which gives singers a better deal and to involve activists more fully in visits to drama schools and conservatoires. Stephen Spence concluded by stressing the importance of activism being tempered by structure, order and discipline – in this respect, the aim would be to ‘organise the response so that nobody dies’. MOTIONS ON RECORDED MEDIA WERE THEN TAKEN. MOTIONS 25 AND 39 WERE REMITTED TO COUNCIL. Following this, the Vice-President requested a formal motion to adopt the Annual Report and Accounts. This was proposed by Graham Hamilton and seconded by Jo Cameron Brown. This was AGREED unanimously. The Vice-President then brought Conference to a close with thanks to Louise Grainger, Training and Events Manager for all her work on organising the event, Staff, sound recorders, the Hotel and the sponsors of the Gala Dinner, Aviva and Morrish & Co. He thanked all representatives for attending and looked forward to seeing everyone at the next Conference in Birmingham from 19th – 21st May, 2012. CONFERENCE CLOSED AT 5.30 p.m. __________________________________________________________________ MOTIONS ON POLICY MOTION 1: Young Members’ Committee This Annual Representative Conference welcomes the work of the union in progressing the campaign against low/no pay work, but acknowledges that only way forward in the campaign is for members to take employers to employment tribunals. Conference therefore asks the Equity Council to investigate funding a substantial campaign to educate Equity members about this new approach and to promote and advertise how to contact the union to get assistance in taking an employer to tribunal. The campaign should include both physical and digital media, and be targeted at workplaces and training schools, as well as directly to members. The motion was proposed by Karina Cornell and seconded by Abigail Tarttelin. There were no speakers against the motion. Motion 1 was CARRIED unanimously. MOTION 2: North and East London Branch The cuts to the arts from central and local government are the most severe we have ever faced, will threaten the future of

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subsidised theatre and all the performing arts, and demand united resistance from Equity, performing arts students, and other entertainment and public service unions. We must campaign to make the bankers, tax-evaders and speculators pay for the crisis they caused and defend our services and artistic wealth. This Annual Representative Conference recognises and welcomes the Equity Council’s and Organisers’ emphasis on fighting the cuts and their encouragement of local action, and we further urge them to : 1 Use the Theatre Manifesto as an active means to rally people against the cuts. 2 Unite with entertainment and public service unions, students and broad campaigns (e.g. Coalition of Resistance) in sustained action against public service cuts generally, including rallies, lobbies of MPs, and demonstrations. 3 Organise online petitions in defence of arts funding via Equity itself and online campaigners (e.g. 38 Degrees). 4 Organise a National Demonstration and rally in London specifically on the arts cuts, involving other unions, campaigning organisations and students. 5 Encourage local rallies, marches, and protest performances in all the regions, and occupations of theatre buildings where closure is imminent. 6 Communicate more fully and clearly to members via email or post (as well as the website) about campaigning activity which they can participate in or instigate. AMENDMENT: London Area Committee In lines 4 and 5, delete: “make the bankers, tax-evaders and speculators pay for the crisis they caused and”. The motion was proposed by John Gillett and seconded by Billy McColl. The amendment was proposed by Jessica Sherman and formally seconded. Julia Carson Sims spoke for the Council on this motion whose attitude was one of Qualified Support. There were two speakers against the amendment. The amendment was DEFEATED following a count. The motion was CARRIED nem con. MOTION 3: Audio Committee This Annual Representative Conference instructs the Equity Council to put in place agreements (or at the very least guidelines) for the employment of Audio Describers. Further, efforts should be made to lobby government for audio description to be included as a necessary service provision in the Equality Act 2010. Finally Equity should embark on a recruitment campaign to identify people working in this area and encourage them to join the union. The motion was proposed by Patricia Brian and seconded by Alan Thompson. Sheila Mitchell spoke for the Council on this motion whose attitude was one of Qualified Support. Stephen Spence provided professional advice. The motion was CARRIED unanimously. MOTION 4: East Midlands Variety Branch This Annual Representative Conference calls on the Equity Council to work more closely with Musicians’ Union and BECTU on parties appearing on the Equity ‘Special Attention’ list. The Federation of Entertainment Unions (FEU) should have a specific item on the agenda to report notable cases of common interest. AMENDMENT: The Council In lines 2 to 4, delete: “The Federation of Entertainment Unions (FEU) should have a specific item on the agenda to report notable cases of common interest.” The motion was proposed by Bernie Kayla and formally seconded. The amendment was accepted. There was one speaker for the motion. The motion was CARRIED unanimously. MOTIONS ON LIVE PERFORMANCE - THEATRE MOTION 5: Minority Ethnic Members’ Committee Minority ethnic led theatre companies provide invaluable employment opportunities for minority ethnic Equity members who continue to experience discrimination in accessing work across the entertainment industry. Whilst integrated casting remains an aspiration rather than a reality the importance of publicly-funded minority ethnic led theatre companies should not be underestimated. This Annual Representative Conference calls on the Equity Council to endeavour to monitor and assess the equality impact of the arts cuts and to make representations to funding bodies on the basis of the equality impact of the cuts where necessary. The motion was proposed by Roxanne Clinch and seconded by Shiv Pandi. The motion was CARRIED unanimously. MOTION 6: Bristol and West Branch Following on from Equity having now drawn up the Manifesto for Theatre, this Annual Representative Conference instructs the Equity Council to target those publicly subsidised theatre companies who continue to disregard the Manifesto’s recommendations. In particular Conference instructs Council to insist that all Arts Councils and local authorities throughout

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the UK implement criteria which require regularly funded companies to pay all artists at least the minimum industry standard wage rate. AMENDMENT: Northern Ireland Committee In line 2, delete: “instructs” and insert “calls on”. In line 4, delete all after: “Conference”, and insert: “calls on Council to encourage by all means possible all Arts Councils and Local Authorities in the UK to implement criteria which require publicly funded companies to pay artists the appropriate minimum Equity theatre wage”. The motion was proposed by Sarah Buckland and formally seconded. The amendment was proposed by Al Logan and formally seconded. John Webb spoke for the Council who supported the motion, if amended. The amendment was CARRIED with 1 against. The motion as amended was CARRIED unanimously. MOTION 7: Northern Ireland Annual General Meeting A number of Companies working in theatre are asking actors and stage management to invoice them directly for the work that they do. It happens across the UK and usually it is on a non-Equity contract. This puts members in a difficult position as they are then categorised as wholly self-employed and the Company believes it can then not pay National Insurance or Holiday Pay and has implications for Insurance. The practice is widespread and is overlooked or ignored by the Revenue, Arts Councils and Local Authorities. This Annual Representative Conference urges Equity to highlight this practice at a national level with all the respective agencies to ensure that performers are contracted fairly and that companies have proper systems in place, particularly if they are funded through the public purse. The motion was proposed by Smack and formally seconded. The motion was CARRIED unanimously. MOTION 8: Independent Theatre Arts Committee In 2007 after extensive consultation and negotiation, Equity signed a new deal with the Independent Theatre Council (ITC) which resulted in 97 companies becoming “approved ITC managers” and using the Equity-ITC Agreement. However, since 2007 the number of approved managers has not varied significantly despite an increase in companies producing in the independent sector and Equity’s Live Performance Department’s efforts. The Independent Theatre Arts Committee (ITAC) is aware that, across the UK, many of these independent theatre companies are using versions of the agreement without choosing to join the ITC; ITAC believes that this trend will continue. This Annual Representative Conference agrees that an Independent Theatre contract be made available which mirrors the terms agreed of the Equity-ITC Agreement, but which does not require companies to be members of the ITC. It should be made available openly via the Equity website and identify clearly the legal requirements of employing Equity members Resources must be made available to promote, monitor and support this agreement. It must be made clear to the industry that Equity is open to having direct relationships with independent theatre companies. The motion was proposed by Andy McBean and seconded by Frances Rifkin. Corinna Marlowe spoke for the Council whose attitude was to oppose the motion. Stephen Spence provided professional advice. There were three speakers for the motion. David Cockayne, Vice-President, proposed that the motion be remitted to Council for a full and informed debate. Graham Padden, Chair of Standing Orders Committtee, advised that only the proposer could remit. Andy McBean agreed to remit the motion but wished for members of ITAC to be involved in the subsequent debate. The motion was REMITTED to Council. MOTION 9: South East Area Annual General Meeting This Annual Representative Conference supports and wishes to encourage fringe theatre and new writing in the areas where members live. Conference asks the Equity Council to campaign vigorously with the Independent Theatre Council and any other sympathetic and supportive management and/or funding organisation to ensure the continuation of this essential and exciting sector of the entertainment industry of the 21st century. The motion was proposed by Michael Branwell and seconded by Caryl Griffiths. Jean Rogers spoke for the Council whose attitude to the motion was one of Qualified Support. There were two speakers for the motion and one against. The motion was CARRIED overwhelmingly. MOTION 10: Northern Area Annual General Meeting This Annual Representative Conference requests that the Equity Council implements negotiations with relevant bodies/ managements to promote the use of professional British artistes/actors from across this culturally great country for the socalled Cultural Olympiad in 2012. Amendment: Audio Committee

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In line 3, delete: “British artistes/actors”, and insert: “artistes/actors who are legally resident in the UK”. The motion was proposed by Geremy Phillips and seconded by Anne Lorraine. The amendment was accepted. There was one speaker for the motion and one against. It was pointed out that the amendment has the effect of excluding residents of the Isle of Man. The motion was CARRIED overwhelmingly. MOTIONS ON EQUAL OPPORTUNITIES MOTION 11: Women’s Committee This Annual Representative Conference recognises and supports the union’s policy of incorporating the issue of diversity into all of our industrial efforts. However, it is the view of Conference that the issue of gender equality has been rolled into the diversity policy and as such has lost the focus it needs. Whilst the issues surrounding diversity and gender equality are similar, they are different. Not only are 50% of our membership women, over 50% of the population are female and it is a fundamental right of all women to be treated equally. Women members in our industry will always be at a disadvantage until the balance in the workplace better reflects the gender balance of society. If women in general do not have equal opportunities, what hope is there for women within the different diversity groups? Conference therefore calls on the Equity Council to recognise that gender equality requires its own focus and to ensure that it is separately identified and argued for as part of any industrial and political strategy. Amendment: The Council In line 2, delete: “diversity”, and insert: “equality”. In line 3, delete: “has been rolled into the diversity policy and as such”. In line 5, delete: “Whilst the issues surrounding diversity and gender equality are similar, they are different.” In lines 9 and 10, delete: “If women in general do not have equal opportunities, what hope is there for women within the different diversity groups?” In lines 11 and 12, delete: “requires its own focus and to ensure that it is separately identified”, and insert: “continues to be identified and even more strongly”. In line 13, delete: “strategy”, and insert, “strategies”. At the end of the motion, insert: “This should follow the lead and models offered by the International Federation of Actors’ Handbook of Good Practices to Combat Gender Stereotypes and Promote Equal Opportunities in Film Television and Theatre in Europe.” The amendment was accepted and the amended motion displayed. The motion as amended was proposed by Jean Rogers and seconded by Abigail Tarttelin. There were four speakers in support of the motion and none against. The motion was CARRIED nem con. MOTION 12: Members with Disabilities’ Committee This Annual Representative Conference calls on the Equity Council to instigate a disability audit of theatres and concert halls throughout the UK on access and facilities, both front-of-house and backstage. This will provide essential information for disabled performers and disabled Equity audience members and valuable data to be used to campaign for improved access and facilities provision. Amendment: Manchester and District Variety Branch In line 2, delete: “theatres and concert halls”, and insert: “theatres, concert halls and television and film sets”. This motion was REMITTED to Council. MOTION 13: Lesbian, Gay, Bi-sexual and Transgender Committee This Annual Representative Conference calls on the Equity Council to work with the drama school umbrella agencies, such as the National Council for Drama Training and the Conference of Drama Schools, and Skillset to assess if and how stereotypical industry casting practices impact on drama school selection practices and the opportunities available and advice given to students during their time at drama school. This would be to inform the development of good practice guidance which encourages a broad diversity of drama school graduates and seeks to address issues highlighted by the Head of Acting at Central who has stated that there is a tendency for female students to become thinner, girlier and more sexualised in their final year at drama school, because it is their perception that this is what the industry wants to employ. Amendment: North and East London Branch At the end of the motion, insert: “These problems need to be addressed by all drama schools and other bodies in this motion with all casting departments and production companies who persist in such stereotypical casting regarding race, gender, disabilities and sexual preferences etc. This affects not only all drama students but every actor in the industry.” The amendment was accepted.

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The motion as amended was proposed by Joan Beveridge and seconded by Nicholas Brand. There were four speakers in support of the motion and none against. The motion as amended was CARRIED nem con. MOTION 14: North West London Branch This Annual Representative Conference calls upon the Equity Council to establish procedures to ensure that organisations that are required to carry out Gender Equality Impact Assessments do so in compliance with the 2010 Equality Act, 2007 Gender Equality Duty and 1975 Sex Discrimination Act. Further, Council should put measures in place to be prepared to take appropriate legal action, should it be brought to their attention that organisations are not doing Gender Equality Impact Assessments or implementing their duty towards gender equality, to ensure that these obligations are complied with. FIRST AMENDMENT: North West London Branch In line 3 to 7, delete everything after: “2010 Equality Act”, and insert: “Further, Council should continue to monitor these assessments and be prepared to take appropriate action, including legal action where necessary, to ensure that these obligations are complied with”. SECOND Amendment: Young Members’ Committee In lines 1 and 2, delete: “establish procedures to ensure that”, and replace with: “inform”. In line 2, delete “that are required” and replace with “of their duty”. In line 2, delete “do so”. In line 4, delete “put measures in place to”. In line 4, delete “legal”. In lines 6 and 7, delete: “to ensure that these obligations are complied with”. THIRD Amendment: Women’s Committee In line 2, after: “organisations”, insert: “local and County Councils and Arts Councils” The first amendment was accepted, the second amendment was withdrawn and the third amendment was accepted. The motion was proposed by Frances Cuka and seconded by Diana Brooks David Cockayne spoke for the Council whose attitude was to oppose the motion unless amended by the Second Amendment. As this amendment had been withdrawn the Council attitude was to oppose. There were four speakers for the motion and two against. The motion, as amended by the first and third amendment, was DEFEATED. MOTIONS ON COMMUNICATIONS AND MEMBERSHIP SUPPORT MOTION 15: West End Deputies’ Committee This Annual Representative Conference acknowledges the difficulties faced by performers and models in particular in getting reasonably priced car and other insurances. It seems these professions have been rated as highly risky to insure regardless of age, gender, claim history, etc. To give an online quotation many online insurers make the assumption (as laid out in the small print) that the applicant doesn’t work in TV, film, fashion, sport or performing arts. If you are employed in these professions discounted rates generally do not apply. Conference calls on the Council to investigate, through all appropriate avenues, what truth there is in this heightened risk and campaign for fair and equitable rates of insurance for all members. AMENDMENT: Stage Management Committee In lines 1 and 2, delete: “performers and models in particular”, and insert: “members”. The motion was proposed by Garth Jacobs and formally seconded. There were three speakers in favour of the motion. The motion was CARRIED unanimously. MOTION 16: Variety Advisory Committee This Annual Representative Conference notes that the Equity Council has not taken any definitive action on the motion passed at the 2008 Annual Representative Conference asking that Equity arranges insurance against the prospect of members being investigated by Her Majesty’s Revenue and Customs (HMRC). However, it has been established that the cost of such insurance is about £3 per member. All the self-employed members of the union are in danger of this investigation which may result in the bankruptcy of some members. This service is provided by other unions such as the Musicians’ Union. Conference instructs Council to investigate the cost of providing this insurance as an add-on, opt-in extra for Equity members with the aim of making it available as soon as possible. The motion was proposed by Michael Branwell and formally seconded. There was one speaker in favour of the motion. The motion was CARRIED unanimously. MOTION 17: London Area Committee This Annual Representative Conference calls upon Equity Council and staff to implement a series of one-to-one career advice sessions, free at the point of use, for members who are in financial difficulties. The number and criteria for the selection

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of members seen is to be determined by Council and staff in relation to available funding, which the union will seek both internally and externally from other sources. The advisors will undertake their own administrative support as part of the service and continue to offer sessions to the rest of the membership, charged direct to members. Set up in 2005, this unique peer-to-peer careers advice service currently can only offer sessions to members who can afford to pay. There is a clear and defined need for free sessions to be made available to those members who are experiencing financial difficulties, especially as these sessions may well help them to get back into work. The recent union-funded day of one-toone sessions received over 200 applications for only 15 places, and it can be expected that this demand will continue to grow under the current financial climate. We recognise that the union’s finances are already under pressure in 2011. However, expenditure on a scheme such as this would not only provide an essential benefit to members, but also could be seen as legitimate marketing expenditure helping to attract new and rejoining members. The motion was proposed by Yvonne Bonnamy and formally seconded. Dennis Ray spoke for the Council whose attitude to the motion was one of Qualified Support. There were four speakers for the motion and one against. The motion was CARRIED overwhelmingly. MOTION 18: London Area Annual General Meeting This Annual Representative Conference instructs the Equity Council to investigate the possibility of Equity providing training and information to performers focused upon the creation of sustainable production companies for both live and recorded work. FIRST AMENDMENT: Northern Area Committee. In line 2, delete: “providing”, and insert: “sourcing opportunities for”. SECOND AMENDMENT: West and South West London Branch In line 2, delete: “training and”. The motion was proposed by Karina Cornell and seconded by Frances Rifkind. The first amendment was proposed by Yvonne Joseph and seconded by Jennifer Thorne. David Cockayne spoke for the Council whose attitude was one of Qualified Support. There were two speakers for the motion and one against. One of these speakers also spoke against the second amendment and the other against both amendments. The first amendment was DEFEATED overwhelmingly. The second amendment was DEFEATED overwhelmingly. The motion was CARRIED overwhelmingly. MOTION 19: West and South West London Branch This Annual Representative Conference asks the Equity Council to set up a working party to consider ways of raising Equity’s profile with the public. We can read in the magazine of the legal cases Equity supports and wins for members and of our rising profile at the TUC, but this is read mainly by other members and not by the general public. We should be out there blowing our own trumpet to the general public so they know Equity in the way they know Unison or the NUT, and so also reaching non-members and encouraging them to join. The motion was proposed by Jennifer Thorne and seconded by Andrew MacBean. There were three speakers for the motion and three against. The motion was DEFEATED. MOTIONS ON INTERNAL UNION BUSINESS Motions 20 and 21 and the amendment were debated together but voted on separately MOTION 20: The Council Despite careful scrutiny, Equity’s costs continue to rise. The annual rate of inflation is much higher than in the recent past. Conference therefore agrees that, with effect from 1 January 2012, subscription rates will increase by 5% rounded down to the nearest whole pound. The minimum subscription rate will rise from £108 to £113. Those paying by Direct Debit will continue to receive a discount of £5. There will be no subscription increase in 2011. The motion was proposed by Bryn Evans, Honorary Treasurer and seconded by Natasha Gerson. MOTION 21: The Council The Entrance Fee has remained unchanged at £25 since July 1998. Inflation has eroded the true value of this fee. Conference therefore agrees that, with effect from 1 January 2012, the Entrance Fee will increase to £26. AMENDMENT: South East Area Committee and Welsh National Committee In line 3, Delete: “£26”, and insert: “£30”.

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The motion was proposed by Bryn Evans, Honorary Treasurer, who also spoke against the amendment. The motion was seconded by Natasha Gerson. The amendment was proposed by Peachy Mead and seconded by Julia Carson Sims. There were no further speakers on Motion 20. There were three speakers against Motion 21 and one speaker in favour of the amendment to Motion 21. Motion 20 was CARRIED overwhelmingly. The amendment to Motion 21 was DEFEATED overwhelmingly. Motion 21 was CARRIED overwhelmingly. MOTION 22: Scottish Annual General Meeting This Annual Representative Conference proposes that motions put to the Equity Annual Representative Conference should not be accompanied by a paper of recommendations from the Equity Council of support, qualified support, opposition or neutrality. We feel that this practice inhibits informed debate. This would not prohibit the participation of council spokespersons, but would make the process of Conference business more democratic, as befits a member-led organisation. We, therefore, call on representatives to this 2011 Conference to vote for this motion to ensure that this becomes union policy at future conferences. The motion was proposed by Clunie Mackenzie and seconded by Isabella Jarrett. John Webb spoke for the Council whose attitude was to oppose the motion. There were five speakers for the motion and three against. Following a count, the motion was DEFEATED with 53 for, 64 against and 6 abstentions. MOTION 23: Welsh National Committee, Theatre Directors’ Committee and Theatre Designers’ Committee This Annual Representative Conference believes that a significant number of members would benefit from an online branch and therefore urges the Equity Council to exercise its powers under Rule 16.2.1 to establish such a facility by the end of this year. The motion was proposed by Terry Victor and seconded by David Cockayne. The Council attitude to this motion was neutral. The motion was CARRIED overwhelmingly. MOTION 24: Essex Branch This Annual Representative Conference asks the Equity Council to streamline the general branch and variety branch network by combining them, thus saving considerable costs in this time of financial difficulty. The overall saving, in the long run, would benefit all members for the future of a strong united union. The motion was proposed by Martyn Harrison and seconded by Charlie Wilson. There were three speakers for the motion and six against. The motion was DEFEATED. MOTION 25: South West Area Committee This Annual Representative Conference requests the Equity Council to encourage elected Branch and National/Area Committee members to participate in local TUC meetings by paying basic travel expenses, thus strengthening our Union’s affiliation with the TUC. Similarly, this ARC believes that Equity should be represented by elected Members at the various TUC Regional and other AGMs, and that the essential costs involved will prove to be a worthwhile investment. This motion was REMITTED to Council. MOTIONS ON LIVE PERFORMANCE — VARIETY, LIGHT ENTERTAINMENT AND CIRCUS MOTION 26: Manchester and District Variety Branch As variety and circus are indigenous cultures of this country, this Annual Representative Conference asks the Equity Council to make every effort to negotiate with relevant bodies to ensure the inclusion of these art forms, as previously recognised by Arts Council England, in the Cultural Olympiad. In line with recent Olympics worldwide we wish to showcase to the world the many and diverse talents we represent. Amendment: Minority Ethnic Members’ Committee In line 1, delete: “As variety and circus are indigenous cultures of this country”. In lines 2 and 3, delete: “these art forms”, and insert: “variety and circus”. The motion was proposed by Geremy Phillips and formally seconded. The proposed amendment FAILED as the proposer and seconder were not in the Conference Hall at the time of the debate on this motion. As 13 hands were raised to challenge the Chairman’s ruling that the amendment had failed, this was voted upon. On a vote, the Chairman’s ruling was UPHELD. The motion was CARRIED nem con.

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MOTION 27: Thames Variety Branch This Annual Representative Conference notes with horror that Hackney Council has disregarded the majority opinion delivered in the consultation with residents on regulating so called ‘Sexual entertainment’ venues in the borough. The Equity Council can be rightly proud of its record in representing dancers – exotic dancers, pole dancers, striptease dancers, burlesque dancers and other young and vulnerable members. Conference instructs Council to monitor and, if necessary, oppose other attempts by local authorities to withdraw licences from venues where our members are currently protected under present legislation. The motion was proposed by Michael Branwell and formally seconded. The motion was CARRIED nem con. MOTION 28: North East Variety Branch The North East Variety Branch motion to the 2010 Annual Representative Conference on the loss of work to variety members was passed unanimously. Since last year there have been many reports of last minute cancellations, fees reduced at the last minute and more venues closing. Nothing has changed. If the artiste complains, they can find themselves out of work. Since last year, Equity now has a Variety Organising Team which is looking into sex discrimination in clubs, liaising with beer and pub associations and licensed victuallers. Guidelines on agencies for variety artistes have also been mooted. However it does not seem as though any of these points have been actioned yet, although intentions are good. It is likely that next year the same points will be made as variety pleads its corner once again. Conference notes that variety needs help and Variety branch members constitute about 9,000 of the membership, i.e. one quarter. Conference agrees that Equity cannot afford to lose its variety members and calls on the Equity Council to re-double its efforts to protect and promote work opportunities in this sector. This motion was proposed by Brenda Marsh and formally seconded. The motion was CARRIED nem con. MOTION 29: South Yorkshire Variety Branch This Annual Representative Conference notes with alarm the frequency of pub and club closures which reduce the work opportunities open to our variety members. Conference further notes the damage caused to the sector by the availability of loss leading cheap alcohol in supermarkets with whom the pubs and clubs cannot compete. Conference calls on the Equity Council to join the campaign for a fairer duty levying regime which will redress the imbalance and encourage people back into the clubs. The motion was proposed by Joy Palmer and seconded by Deborah Charnley. He motion was CARRIED nem con. MOTION 30: Birmingham Variety Branch This Annual Representative Conference notes that Denmark has reviewed the smoking ban in the light of the closure of many of their pubs and clubs and taken a more flexible approach in allowing separate smoking rooms with adequate ventilation. The previous government promised to review and consider a more balanced approach to the issue, but was removed from office before the review took place. Now the Club & Institute Union (CIU) has joined with Save Our Pubs and Clubs (SOPAC) in calling for a review. Conference agrees that the time is right for a review of the smoking ban in the light of the continued closure of pubs and clubs and Equity will join the campaign to bring about a review of the current legislation. AMENDMENT: Variety Advisory Committee In line 1, delete: “has” and insert: “and other European countries have”. The amendment was accepted The motion, as amended, was proposed by Jim Townsend and seconded by Angel LaVey. There were four speakers for the motion and three against. The motion was DEFEATED. MOTIONS ON RECORDED MEDIA Motions 31 and 32 will be debated together but voted on separately MOTION 31: Welsh Annual General Meeting In the light of the recent referendum result in Wales, and mindful of the differing broadcasting requirements of the devolved nations, this Annual Representative Conference calls upon the Equity Council to campaign for responsibility for nation-specific broadcasting (as exemplified by S4C) to be devolved to the relevant national governments. This motion was proposed by Terry Victor and seconded by Julia Carson Sims. MOTION 32: Scottish National Committee This Annual Representative Conference recognises that, although broadcasting is a reserved UK power, regulation,

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accountability and investment in programme-making in Scotland, Wales and Northern Ireland is now increasingly complicated. Different rules and circumstances apply in each of the nations, as exemplified by the report of the Scottish Broadcasting Commission, the problem concerning the funding of S4C, and the lack of production in Northern Ireland. Broadcasting is, or should be, an important source of work for our members based in the nations. This motion calls for the creation of a small, time-limited working party, (to include councillors, national officers and representatives of the national committees) with the remit of considering all the problems faced by our members in the nations, and suggesting to the Equity Council comprehensive policies fit for purpose for broadcasting in Scotland, Wales and Northern Ireland. This motion was proposed by Isabella Jarrett and seconded by Clunie Mackenzie. Stephen Spence gave professional advice on both motions. Sheila Mitchell spoke on behalf of the Council and asked for Motion 31 to be remitted. There were two speakers in favour of Motion 31. There was one speaker in favour of Motion 32 and one speaker against. Motion 31 was REMITTED to Council. Motion 32 – there was a count and the initial result was 40 for and 41 against with 14 abstentions. On a recount, there were 42 for, 41 against and 14 abstentions. On a third count, there were 44 for, 41 against and 15 abstentions. Motion 32 was therefore CARRIED but by a simple majority. MOTION 33: Northern Ireland Committee This Annual Representative Conference is concerned at the number of wholly or partially publicly funded low-budget film productions employing members on non-standard contracts. The contracts used are devised by lawyers and ignore the hard fought for gains that the union has achieved in an Equity contract. Conference therefore calls upon Equity to try to ensure that all those screen agencies in the UK who are in receipt of public money to adopt the standard industry agreements as part of the requirement of securing funding for performers engaged on film and/or television production not just in Northern Ireland but throughout the UK. Conference further calls upon Equity to try to ensure that the screen agencies also require that all production companies meet all statutory legal obligations in the engagement of performers. The motion was proposed by Smack and seconded by Sally Treble. The motion was CARRIED unanimously. MOTION 34: Walk-on and Supporting Artists’ Committee This Annual Representative Conference agrees that Equity shall address an issue of abuse by employers, which affects walkons, supporting artists and other professional colleagues. That abuse involves broadcasters who have chosen to reduce in-house productions by engaging independent producers. Some of those independent producers blatantly disregard both Equity’s agreements and the law of the land, by paying less than the National Minimum wage. In particular, the BBC, having received licence fee payers’ money, then uses this money to purchase and/or commission programmes from independent producers. The BBC, simply by subcontracting or purchasing programmes, cannot ignore its responsibilities to the public to ensure that producers comply with the BBC’s terms and conditions and that these independent producers comply with the law. This Annual Representative Conference agrees that, if necessary, Equity will seek legal advice to clarify this issue and will ensure that Ofcom, the appropriate Government departments and the TUC are made aware of our concerns. The motion was proposed by Sally Treble and seconded by Linda Hardy. Dennis Ray spoke for the Council whose attitude was to oppose the motion. Stephen Spence provided professional advice. There was one speaker for the motion. Following a count the motion was CARRIED with 53 for, 38 against and 11 abstentions. It was therefore carried by a simple majority. MOTION 35: North West of England Branch This Annual Representative Conference requests that the Equity Council considers exploring the possibility of encouraging corporate film makers whose films are displayed in public places and in buildings accessible to the public - on screens, televisions, monitors, pda devices, etc - to give the actors on-screen credits for the roles they play. This motion was proposed by David Corden and seconded by Andrew Husband. The motion was CARRIED unanimously. MOTION 36: Merseyside Variety Branch Equity members and the wider public continue to be frustrated at the broadcasters’ ongoing squeezing of credits in television programming. This Annual Representative Conference requests that the Equity Council builds on the work of the Stop the Credit Crunch campaign by prioritising the issue in future negotiations with the BBC, PACT and ITV, with a view to ensuring

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that all performers are properly credited for their work. The motion was proposed by Fiona Martin and seconded by Jonathan Cecil. The motion was CARRIED unanimously. MOTION 37: Northern Area Committee This Annual Representative Conference requests that the Equity Council attempts to negotiate priority consideration for professional artistes, small parts, walk-ons and creatives to be seen first when all film castings are taking place. The motion was proposed by Yvonne Joseph and formally seconded. The motion was CARRIED unanimously. MOTION 38: Midlands Area Annual General Meeting The Annual Representative Conference of 2005 unanimously endorsed the Midlands Area AGM motion which reads: â&#x20AC;&#x153;The Annual Representative Conference calls upon the Equity Council to include in all future negotiations a requirement that T.V. film and Theatre companies will hold auditions and/or casting sessions at regional bases where production is made, as well as London if the production is not London-based.â&#x20AC;? A supporting motion from the Leeds & District Branch which appeared on the 2006 Annual Representative Conference agenda, was fully supported by the Council. However members have seen no evidence that any initiative has yet been implemented by Council. Conference requests the Council to raise these issues with the employers as a matter of urgency. The motion was proposed by Tracey Briggs and formally seconded. The motion was CARRIED unanimously. MOTION 39: Midlands Area Committee This Annual Representative Conference notes with concern that the Television Working Party, which is currently in the process of re-negotiating the BBC, PACT and ITV Agreements, has neglected to consult the Variety Advisory Committee on the engagement of variety, circus and light entertainment artists. Conference agrees that the Equity Council will instruct the Television Working Party to address this omission as a matter of urgency and, furthermore, will endeavour to obtain standard terms and conditions of employment in all negotiated television agreements for variety, circus and light entertainment artists. This motion was REMITTED to Council.

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APPENDIX 2:

COMMITTEE ELECTIONS Committee elections 2011 - results 2011 Total members entitled to vote: 35,445 Spoilt ballot papers: 15 Total voted by post: 2,120 Total voted on web: 256 Total ballot returns: 2,391 7%

NORTHERN IRELAND NATIONAL COMMITTEE – 9 to elect AL LOGAN Elected unopposed FRANKIE MCCAFFERTY Elected unopposed ALAN MCKEE Elected unopposed SHEELAGH O’KANE Elected unopposed LOUIS ROLSTON Elected unopposed

LONDON AREA COMMITTEE – 4 to elect ESTHER RUTH ELLIOTT Elected unopposed MIK SCARLET Elected unopposed JESSICA SHERMAN Elected unopposed

SOUTH EAST AREA COMMITTEE – 12 to elect votes DES BARRON 211 Elected NICHOLAS K. BRAND 174 Elected HENRIETTA BRANWELL 204 Elected MICHAEL BRANWELL 200 Elected TONY DENNES 176 Elected RACHEL DOBELL 233 Elected CARYL GRIFFITH 204 Elected MUHITH HAKIM 73 PEACHY MEAD 218 Elected THE PUPPET MAN 171 Elected MAVIS WESLEY 174 Elected JULIA WEST 239 Elected DAVE WHITLAM 200 Elected

MIDLANDS AREA COMMITTEE - 12 to elect votes JOHN BRENNAN 87 Elected TRACEY BRIGGS 114 Elected SHARON CANNINGS 86 Elected NIGEL HARRIS 66 Elected KAZ LUCKINS 85 Elected MANDELEA 74 Elected SHEILA PAYNE 96 Elected JACQUELINE REDGEWELL 65 MILES RICHARDSON 84 Elected CHRIS SHAW 90 Elected ROB STANLEY 84 Elected PETER TOMLYN 31 JIM TOWNSEND 82 Elected SALLY TREBLE 130 Elected

NORTHERN AREA COMMITTEE - 12 to elect votes STEPHEN AINTREE 131 Elected ANTHONY BLAKESLEY 141 Elected DAVID CORDEN 143 Elected DEACON 56 ELEANOR DEARLE 169 Elected DAVE EAGER 199 Elected YVONNE JOSEPH 223 Elected NIKKI LEONARD 115 ANN LORAINE 133 Elected STEVE McAVOY 87 ROWE DAVID McCLELLAND 92 BRENDA MARSH 201 Elected FIONA MARTIN 130 Elected JOY PALMER 96 GEREMY PHILLIPS 195 Elected ROGER THE ARTFUL 120 TOM ROLFE 87 PETER RYLANDS 154 Elected SUSAN TWIST 224 Elected

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SOUTH WEST AREA COMMITTEE – 9 to elect SARAH BUCKLAND Elected unopposed JOSEPHINE CRAWFORD Elected unopposed NICKY DIPROSE Elected unopposed SARAH DUKES Elected unopposed ARTHUR DUNCAN Elected unopposed JILL LAMÉDE Elected unopposed MARY LANE Elected unopposed DAVID RICHEY Elected unopposed

WELSH NATIONAL COMMITTEE – 15 to elect CHRISTOPHER BATTEN Elected unopposed PHIL EVANS Elected unopposed GOLDINI Elected unopposed BETH HOUSE Elected unopposed MICHAEL KELLINGAN Elected unopposed NAOMI MARTELL Elected unopposed ROGER NOTT Elected unopposed DOC O’BRIEN Elected unopposed OLWEN REES Elected unopposed GERRI SMITH Elected unopposed EIRY THOMAS Elected unopposed TERRY VICTOR Elected unopposed

SCOTTISH NATIONAL COMMITTEE - 15 to elect votes CAROLE ANDERS 66 Elected ANDREW BRODIE-FREW 63 Elected JAMES BYARS 80 Elected ALICIA DEVINE 57 Elected NATASHA GERSON 67 Elected ISABELLA JARRETT 80 Elected KATE McCALL 79 Elected CLUNIE MACKENZIE 95 Elected MICHAEL MACKENZIE 102 Elected SHEENA PENSON 70 Elected IAN PETRIE 67 Elected WILLIAM RIDDOCH 72 Elected LINDA RIFKIND 68 Elected PAB ROBERTS 71 Elected JOHN A. SAMPSON 47 SUSAN TRIESMAN 48 ALEXANDER WEST 65 Elected AUDIO COMMITTEE - 15 to elect votes SEAN BARRETT 556 LAURENCE BOUVARD 1083 POSY BREWER 879 PATRICIA BRIAN 841 JOHN BULL 813 DAVID CORDEN 854 DENICA FAIRMAN 1017 STEPHEN HOGAN 1156 DAVID JOHN 726 EDWARD KELSEY 914 PATRICIA LEVENTON 843 SHEILA MITCHELL 1149 LIZA ROSS 1017 ALAN THOMPSON 667 DAVID THORPE 800 JOHN WEBB 1195

Elected Elected Elected Elected Elected Elected Elected Elected Elected Elected Elected Elected Elected Elected Elected

CONCERT AND SESSION SINGERS’ COMMITTEE – 15 to elect CHRISTOPHER DEE Elected unopposed BRYN EVANS Elected unopposed SEAN KERR Elected unopposed SIMON PREECE Elected unopposed DENNIS RAY Elected unopposed TOM EMLYN WILLIAMS Elected unopposed

CHOREOGRAPHERS’ COMMITTEE – 12 to elect HUW PRALL Elected unopposed PAUL MEAD Elected unopposed NATASHA GERSON Elected unopposed

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INDEPENDENT THEATRE ARTS COMMITTEE – 12 to elect MORNA BURDON Elected unopposed NORMA DIXIT Elected unopposed HASAN DIXON Elected unopposed JOHN GREGOR Elected unopposed NIGEL HARRIS Elected unopposed KATHARINE KAVANAGH Elected unopposed CARON-JANE LYON Elected unopposed ANDREW MACBEAN Elected unopposed ANDY MEDHURST Elected unopposed JOHN PLEWS Elected unopposed LEE RAVITZ Elected unopposed FRANCES RIFKIN Elected unopposed

THEATRE DIRECTORS’ COMMITTEE - 12 to elect votes CATHERINE ARDEN 397 Elected IVOR BENJAMIN 351 Elected JOHN CARNEGIE 368 Elected DI CHRISTIAN 294 Elected NICKY DIPROSE 336 Elected SIMON DUNMORE 331 Elected CLIFFORD MILNER 271 Elected JAMES NORRIS 308 Elected DAVID PIBWORTH 219 VANESSA POPE 386 Elected JEFFREY TEARE 327 Elected DAVID WARWICK 399 Elected FAYNIA WILLIAMS 383 Elected

MODELS’ COMMITTEE – 9 to elect ALEXA BROWN Elected unopposed DOMINYKA GAJAUSKAITE Elected unopposed DUNJA KNEZEVIC Elected unopposed VICTORIA KEON-COHEN Elected unopposed

THEATRE FIGHT DIRECTORS’ COMMITTEE – 12 to elect ANDREW ASHENDEN Elected unopposed NICHOLAS HALL Elected unopposed RENNY KRUPINSKI Elected unopposed PHILIP D’ORLEANS Elected unopposed MICHAEL POYNOR Elected unopposed PHILIP STAFFORD Elected unopposed DEREK WARE Elected unopposed KATE WATERS Elected unopposed

THEATRE DESIGNERS’ COMMITTEE – 12 to elect SEAN CAVANAGH Elected unopposed DAVID COCKAYNE Elected unopposed JUDITH CROFT Elected unopposed ANNA GOOCH Elected unopposed KASPER HANSEN Elected unopposed RICHARD LAMBERT Elected unopposed EDMUND SUTTON Elected unopposed GEORGE TAYLOR Elected unopposed

STAGE MANAGEMENT COMMITTEE - 12 to elect votes ALEX BURKE 165 STEPHEN BURNETT 180 Elected JAMIE BYRON 332 Elected SYLVIA CARTER 310 Elected SARAH COWAN 341 Elected JOANNE GRABHAM 250 Elected PRUDENCE HAYNES 309 Elected GRAHAM HOOKHAM 316 Elected FIONA H MOTT 338 Elected BRIAN PERKINS 282 Elected GRAEME REID 286 Elected ETHAN TAYLOR 365 Elected T.S. WILLIAMS 273 Elected

STUNT COMMITTEE – 12 to elect JIM DOWDALL Elected unopposed GREG POWELL Elected unopposed PAUL HEASMAN Elected unopposed SARAH FRANZL Elected unopposed DEREK LEA Elected unopposed TOM LUCY Elected unopposed ANDY BRADFORD Elected unopposed RAY DE HAAN Elected unopposed

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WALK-ON & SUPPORTING ARTISTS’ COMMITTEE - 12 to elect votes ANTHONY BLAKESLEY 699 SHIRLEY BRIDGES 617 CHRISTINE BUCCI 824 MICHAEL EARL 863 ALEXANDER JAMES FALLON 432 CHARLES P HARDY 491 LINDA HARDY 712 MAGGIE HEVICON-THOMPSON 805 YVONNE JOSEPH 883 PAUL KIRBY 570 ANN LORAINE 772 MANDELEA 500 BRENDA MARSH 995 ROGER MORGAN 727 JOY PALMER 493 ROY RADFORD 672 SALLY TREBLE 1046

Elected Elected Elected Elected

Elected Elected Elected Elected Elected Elected Elected Elected

LESBIAN, GAY, BI-SEXUAL & TRANSGENDER COMMITTEE WOMEN’S SECTION - 4 to elect votes JOAN BEVERIDGE 115 Elected OLIVETTE COLE-WILSON 122 Elected MIRANDA COOK 98 Elected JO FREYA 153 Elected JANE THORNE 39 LESBIAN, GAY, BI-SEXUAL & TRANSGENDER COMMITTEE MEN’S SECTION - 4 to elect votes GIOVANNI BIENNE 236 Elected NICHOLAS K. BRAND 164 PAUL GUTHRIE 201 Elected PETER KOSTA 236 Elected JAMES HAMILTON WELSH 188 Elected

LESBIAN, GAY, BI-SEXUAL & TRANSGENDER COMMITTEE TRANSGENDER SECTION - 1 to elect RUBY DIAMOND Elected unopposed MEMBERS WITH DISABILITIES’ COMMITTEE - 9 to elect votes SIMON BALCON 210 Elected DAVID COCKAYNE 226 Elected DAN EDGE 205 Elected ROGER FIXTER 165 MUHITH HAKIM 127 PAUL HENSHALL 250 Elected ANN LORAINE 224 Elected FLORAIDH F. MACLEOD 178 * JOY PALMER 157 SHEILA PAYNE 214 Elected ROY RADFORD 158 DENNIS RAY 223 Elected AL (BAT) ROSS 167 MIK SCARLET 227 Elected FREDDIE STABB 178 * CHRIS WEBB 171 * Floraidh F. Macleod and Freddie Stabb received the same number of votes and therefore the 9th person to be elected is to be determined. MINORITY ETHNIC MEMBERS’ COMMITTEE - 9 to elect OLIVETTE COLE-WILSON Elected unopposed CORAN ELLIOTT Elected unopposed LACHELE CARL Elected unopposed MUHITH HAKIM Elected unopposed PAUL HYU Elected unopposed SHIV PANDE Elected unopposed SANITA SIMMS Elected unopposed DANIEL YORK Elected unopposed WOMENS’ COMMITTEE - 9 to elect votes JOAN BLACKHAM 556 KARINA CORNELL 438 ELEANOR DEARLE 401 NORMA DIXIT 349 ANGELIQUE FERNANDEZ 300 JO FREYA 295 NATASHA GERSON 227 SHIRLEY JAFFE 379 SUSAN McGOUN 411 JEAN ROGERS 629 LYNDA ROOKE 454 FLIP WEBSTER 459

Elected Elected Elected Elected

Elected Elected Elected Elected Elected

YOUNG MEMBERS’ COMMITTEE - 9 to elect votes LAURA BAILEY 304 Elected KEZIA DAVIS 230 Elected MATTHEW IBBOTSON 216 Elected RYAN FORDE IOSCO 227 Elected ROBERT KANE 179 MAL KUTUB 225 Elected ELLIE PASKELL 327 Elected TOM ROLFE 190 Elected ABIGAIL TARTTELIN 259 Elected BROGAN WEST 259 Elected

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APPENDIX 3:

VARIETY BRANCH OFFICIALS Birmingham Chairman Conk the Clown Secretary: 93 Shard End Crescent Shard End Birmingham B34 7RE Blackpool Chairman: Nikki Leonard Secretary: 2 Wesham Hall Road Wesham, Kirkham Lancs PR4 3BW Coventry & Leicester Chairman: Digg Haywood Secretary: White Cottage 7 Wallace Drive Groby, Leics LE6 0GQ East Anglia Chairman: Tony Dennes Secretary: 126 Bull Close Road Norwich Norfolk NR18 0SP East Midlands Chairman: Bernie Kayla Secretary: 4 Shaw Lane Markfield Leics LE67 9PU Humberside Chairman: Brian Blakey Secretary: 29 Beaufort Crescent Cleethorpes North East Lincs DN35 0RR Manchester & District Chairman: Geremy Phillips Secretary: 10 Bradshaw Street Higher Broughton Salford Greater Manchester M7 4UB Merseyside Chairman: Nora Button Secretary: 146 North Sudley Road Liverpool L17 6BT North East Chairman: Richard Sands Secretary: Wyndin

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Jim Townsend 45 Eachway, Rubery Birmingham West Midlands B45 9DG Tel: 0121 453 6952 Chris Cotton 7 Woodlands Drive Warton , Preston PR4 1UQ Tel: 07941 550315 Sheila Payne 151 Canley Road Westwood Gardens Coventry CV5 6AS Tel: 02476 717424 Peachy Mead “Cavendish House” 10B Mill Hill Road Norwich Norfolk NR2 3DP Tel: 01603 624981 Sally Treble 2 County Bridge Road Rempstone Road Hathern LE12 5JN Tel: 01509 842046 Christie Clifford Lyndale Lodge Queens Way Cottingham HU16 4EP Tel: 01482 848031 Yvonne Joseph 10 Bradshaw Street Higher Broughton Salford Great Manchester M7 4UB Tel: 0161 792 2035 Les O’Neill 20 Greenfield Drive Huyton With Roby Liverpool L36 0SZ Tel: 0151 480 8056 Brenda Marsh 5 North Dene

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The Willows Barmston, Washington Tyne & Wear N38 8JE

North & West Yorkshire Chairman: Janie Voltaire Secretary: 51 Back Heights Road Thornton Bradford BD13 3RP Tel: 01274 831049 Northern Ireland Chairman: B.B. Tohill Secretary: Fairhaven, 24 The Cutts Dunmarry, Belfast Northern Ireland BT17 9HN Scotland Chairman: Eva Lorraine Secretary: Flat 3/2 33 Albert Avenue Queens Park Glasgow G42 8RB South Wales Chairman: Haze Secretary: 78 Georgian Way Blackla Bridgend CF44 9TE South Yorkshire Chairman: Anthony Blakesley Secretary: 15 Common Lane Aukley Nr Doncaster South Yorkshire DN9 3HU Thames Chairman: Rhubarb the Clown Secretary: 72 Hillside Road London N15 6NB Wessex Chairman: Vacant Secretary: West of England Chairman: Mary Lane Secretary:

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131 Birtley Co Durham DH3 1PZ Tel: 0191 410 2660 Valerie Jean Mann Snow White Cottage 16 Birkhill Crescent Birkenshaw West Yorkshire BD11 2LJ Tel: 01132 853 848 Roxanne James 19 Stewartstown Park Belfast Northern Ireland BT11 9GH Tel: 02890 623274 Linda Rifkind Tawny Woods Sandringham Avenue Newton Mearns Glasgow G77 5DU Tel: 0141 639 6969 Shelli Dawn 3 Cefndon Terrace Hirwaun Nr Aberdare CF1 2EY Tel: 01685 812779 Joy Palmer 13 Harborough Drive Manor Park Estate Sheffield S2 1RJ Tel: 0114 264 4833 Andy Christie 22 Blake Close London W10 6AY Tel: 07801 099199 Chris McColl 34 Westby Road Bournemouth Dorset BH5 1HD 01202 304972 Mary Lane 21 Darnley Avenue Bristol BS7 0BS 0117 373 0614

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APPENDIX 4:

VARIETY ADVISORY COMMITTEE Members of the Committee: Elected Members from December 2010 for two years Chris Barltrop (Vice Chair) Beano the Clown Anthony Blakesley Nicholas Brand Michael Branwell John Brennan Eva Lorraine Mandelea Sally Novello Geremy Phillips (Chair 2011/ Vice Chair 2012) Dennis Ray Sally Treble (Chair 2012/ Vice Chair 2011) Variety, Light Entertainment and Circus Councillors (to July 2012) Annie Bright Dave Eager Mary Lane* Brenda Marsh* Tina May Rhubarb the Clown Variety Branch Secretaries Andy Christie Christie Clifford Chris Cotton Shelli Dawn Roxanne James Yvonne Joseph Mary Lane Chris McColl Brenda Marsh Valerie Jean Mann Peachy Mead Les Oâ&#x20AC;&#x2122;Neill Joy Palmer Sheila Payne Linda Rifkind Jim Townsend Sally Treble Elected by the Executive Committee of the VAF Karin Karina Tommy Wallis

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Also Variety Branch Secretary

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APPENDIX 5:

Guidelines & Minimum Rates for analogue transmission commercials recorded via ISDN and in situ by radio stations and independent production facilities.

•

One fee per voice performed per script per listed station, paid at the transmitting stations’ rates as indicated below, unless TX is on both of the FM & AM pairs of stations on the back page, when the listed rates apply.

•

All remakes and tag changes are charged as individual scripts.

•

Demo commercials are charged at the station rate.

•

Where an Advertising Agency/Client or other person not directly employed by the producing company participates in an ISDN engagement a premium of £114.00 minimum per session will be charged.

•

Usage: 12 months from date of recording and for UK domestic only.

•

Usage fees apply to any further use, whole or in part, of these recordings, as does transmission on further stations, other media, or after the 12 month usage period.

•

For 2012, stations that are now grouping together are still charged at individual rates for each station within those groups.

For commercials made by Advertising Agencies, please see the Agency Rate Card NOTES R: Regional Station 1: Changed name since previous Ratecard. 2: New additions to the Ratecard since the previous edition. (The names of some stations not on air at the time this Ratecard was compiled may change prior to launch) 3: Changed payment bands since the previous Ratecard. Based on TSA and changes in RAJAR reach (up to Q2/11). These rates cover the voice fee only for commercials recorded via ISDN and in situ. They do not cover additional production services such as the recording, preparation and supply of mp3 files, which will normally attract an additional charge at a rate to be agreed with individual artists. 2nd and subsequent recordings will be charged at the same rate. In accordance with the Late Payment of Commercial Debts (interest) Act 1998, as amended and supplemented by the Late Payment of Commercial Debts Regulations 2002 (EC Directive), the right is reserved to charge interest at 8% above the Bank of England base rate on all amounts outstanding for more than 30 days from the tax date indicated on this invoice. Members may reserve the right to charge for reminders or statements.” Failure to notify and pay for correct usage is a breach of international copyright law and therefore the copyright is retained by the artist to use accordingly.

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Radio Commercials New Media Rates 1. Commercials made for broadcast on existing terrestrial radio stations also made available via digital, internet, satellite, cable and other media. No charge is currently made for this additional usage of Equity members’ contributions. However, the situation is under review and Equity members reserve the future right to make supplementary charges for new media usage of their contributions. 2. Commercials for broadcast on digital, internet, satellite and/or cable only radio stations made by such stations or subcontracted independent production facilities A flat rate of £36.50 per script per voice performed for six months use. This rate is considered an interim entry level fee and does not reflect the final level of fees. The rate has been set at an initially low level in recognition of the developmental stage of these media, and will be subject to review once accurate audience figures are made available or after twelve months. 3. These rates do not include commercials made by advertising agencies for broadcast on digital, internet, satellite and cable radio stations and other media. 4. Spotify - £220 for 6 months usage 5. Permission must be sought from voice artists and appropriate fees negotiated prior to inclusion of their performances on third party websites.

THE RATES valid until 31st December 2012 (Errors and omissions excepted)

£674.50 Classic FM (Any macro region: £260.15)

£607.20 RTÉ Radio 1 (LW 252) talkSPORT London macro: £123.00 South macro: £123.00 Midlands macro: £123.00 North East macro: £57.70 North West macro 2: £57.70 Northern Ireland macro2: £57.70 Scotland macro : £57.70 Absolute Radio (Any macro region £233.85)

£77.65 95.8 Capital FM (Greater London) Heart 106.2 (Greater London) Kiss 100 (Greater London) Magic 105.4 (Greater London)

£60.80 Absolute Radio (Greater London) Buzz Asia 963 & 972 AM 2 Choice FM 96.9/107.1 (Greater London) Gold London 1548am (was Greater London - 1548am) 1 Kismat Radio (Greater London) LBC 97.3 FM LBC News 1152 AM Premier Christian Radio 102.2 Smooth Radio (Greater London) Spectrum Radio Sunrise Radio (Greater London) Xfm (Greater London)

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RATE CARD- INDEPENDENT RADIO COMMERCIALS PAYMENTS 2012 £31.25 96.4 BRMB fm Radio City 96.7 102.5 Clyde 1 Clyde 2 102.2 Capital FM (Birmingham) (was Galaxy) 102 Capital FM (Manchester) (was Galaxy) 105-106 Capital FM(North East) R (was Galaxy) 105 Capital FM (Yorkshire) R (was Galaxy) Capital 106fm (Scotland) (was Galaxy)3 Gem 106 R (was Heart 106 East Midlands) Heart 100.7 (West Midlands) R 106 Jack FM (Southampton) R (was The Coast) 1 Kerrang! 105.2 (West Midlands) R Key 103 (Manchester) Kiss 101 (Severn Estuary) R Kiss 105-108 (East of England) R Magic 1152 AM (Tyne & Wear) Metro Radio 100 -101 Real Radio (Scotland) R 100 -102 Real Radio (North East) R Real Radio Wales (2 charged separately)  105 -108 Real Radio (North & MidWales) (was North Wales)1  105 -106 Real Radio (South Wales) R 105.4 Real Radio (North West) R 106 -108 Real Radio (Yorkshire) R 97.5 & 107.7 Smooth Radio (North East) R 100.4 Smooth Radio (North West) R 105.2 Smooth Radio (Glasgow) 105.7 Smooth Radio (West Midlands) R 106.6 Smooth Radio (East Midlands) R Wave 105 (Solent) R

£22.45 (cont.)

Capital (East Midlands) (3 charged separately)  102.8 Capital FM (East Midlands-Derby) (was Derby’s RAM FM)  105.4 Capital FM (East Midlands-Leicester) (was Leicester Sound)  96 Capital FM(East Midlands-Nottingham) (was 96 Trent FM) 103.2 Capital FM(South Coast) (was Galaxy) 97.4/103.2 Capital FM(South Wales) (was Red Dragon) 97.1 Radio Carmarthenshire 103 Central FM (Stirling, Falkirk & Clackmannanshire) CFM Radio (Carlisle, Penrith & W. Cumbria) Channel 103 FM (Jersey) Chelmsford Radio 107.7 City Beat 96.7 Compass FM Connect FM Northants 97.2/107.4 (was Connect FM) Connect FM Peterborough 106.8 (was Lite FM) Cool FM Dearne FM (Barnsley) Dee 106.3 (Chester) Downtown Radio (DTR) Dream 100 (Colchester) 107.9 Dune FM 96.4 Eagle Radio Radio Exe (was Exeter FM) 1 Fire Radio 97.3 Forth One 1548 Forth 2 Fresh Radio Gold Bristol & Bath 1260am Hallam FM Heart Cambridgeshire (2 charged separately) £28.05  Heart 102.7 (Peterborough) CityTalk (Liverpool) (was Hereward FM) Gold Birmingham & North Worcestershire 1152am (was Gold Birmingham 1152am)1  Heart 103 (Cambridge) (was Q103) Heart Devon ( 4 charged separately) Gold Manchester 1458am  Heart 96.2/97.3(N Devon)(was Lantern FM) Magic 1548 (Liverpool)  Heart 96.4/97/103 (Exeter, Torbay, S Devon) Magic 1152 (Manchester) (was Gemini 96.4 &103 FM) Nation Radio R Heart 97/96.6 (Plymouth) 106.1 Real Radio XS (Manchester) (was 97 FM Plymouth Sound) (was 106.1 Rock Radio(Manchester))1  [PLUS Heart 100-102 (South Hams) Xfm (Manchester)3 (was South Devon) @£18.20] £22.45 Heart Essex ( 3 charged separately) 96.3 Radio Aire Heart 96.1 (Colchester) 107.8 Arrow FM (was SGR Colchester) Asian Sound Radio  Heart 96.3/102.6 (Essex) (was Essex FM) Atlantic FM (Cornwall)  Heart 101.7 (Harlow) (was Ten-17 FM) The Bay 96.9/103.2 Heart Gloucestershire (Morecambe, Windermere & Kendal)  Heart 102.4 (Gloucestershire) The Beach (Great Yarmouth & Lowestoft) (was Severn Sound) Beacon 97.2 & 103.12 FM Heart Hertfordshire 106.5 The Bee (Preston)  Heart 96.6 (Hertfordshire) (was 106.5 Central Radio (Lancashire))1 (was Hertfordshire’s Mercury) 107 The Bee (Blackburn) Heart Four Counties (was Home Counties) Radio Borders (4 charged separately) 1 Breeze 107.3 (Bristol)  Heart 96.6 (Northamptonshire) (was 107.3 Star Radio (Bristol))1 (was Northants 96) Breeze 107.4 (Bridgewater)  Heart 96.9 (Bedfordshire) (was Total Star Bridgewater 107.4 FM / (was Heart Bedfordshire 96.9/Chiltern 96.9)1 Quay West 107.4 FM)  Heart 97.6 (Beds, Bucks Herts) Breeze 107.9 (Bath) (was Heart Dunstable 96.7/Chiltern 97.6) 1 (was Total Star Bath/ Bath FM)1  Heart 103.3 (Milton Keynes) 106.3 Bridge FM (Bridgend) (was Horizon Radio) Bright FM (Hayward Heath & Burgess Hill) Heart Kent  Heart 103.1/102.8 (Kent) (was Invicta FM)

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£22.45 (cont.) Heart Norfolk & Suffolk (2 charged separately)  Heart 97.1/96.4 (Suffolk - Bury St Edmunds & Ipswich) (was SGR Ipswich)  Heart 102.4 (Norfolk & N. Sufflok) (was Radio Broadland) Heart North West & Wales (4 charged separately)  Heart 96.3 (N. Wales Coast) (was Coast 96.3)  Heart 97.1 (Wirral) (was Wirral’s Buzz 97.1)  Heart 103 (Anglesey & Gwynedd) (was Champion 103 FM)  Heart 103.4 (Cheshire & N E Wales) (was Marcher Sound) Heart South Coast (2 charged separately)  Heart 96.7/97.5 (Hampshire & W Sussex) (was Ocean FM)  Heart 102.3 (Dorset & New Forest) (was 2CR FM) Heart Sussex (2 charged separately)  Heart 102.4 (Brighton) (was Southern FM)  Heart 102.4 (Reigate & Crawley) (was 102.7 Mercury FM Reigate & Surrey) Heart Thames Valley (2 charged separately)  Heart 102.9/97 (Berkshire & North Hants) (was 2-Ten FM)  Heart 102.6/97.4 (Oxfordshire) (was Fox FM) Heart West Country (2 charged separately)  Heart 96.3/103 (Bristol & Bath) (was GWR Bristol & Bath)  Heart 102.6 (Somerset) (was Orchard FM) Heart Wiltshire  Heart 92.7/102.2 (Wiltshire) (was GWR Swindon & W Wilts) Heartland FM (97.5 Pitlochry & Aberfeldy) Imagine FM 104.7 Island FM (Guernsey) Isle of Wight Radio 106 Jack FM Hertfordshire (was Hearbeat fm) 106 Jack FM Oxfordshire (was Jack FM) 106.5 Jack FM (Bristol) (was Original 106.5) Juice 107.2 (Brighton) 107.6 Juice FM (Liverpool) KCFM 99.8 (Kingston-upon-Hull) Kestrel FM North (107.6) (was Kestrel FM) Kestrel FM South (97.1/101.6/101.8/102) (was Delta FM) 3 Kingdom FM KL.FM 96.7 KMFM East (4 charged separately) 1  Kmfm Canterbury (Canterbury, Whitstable & Herne Bay)  Kmfm Shepway & White Cliffs Country (Folkestone & Dover)  Kmfm Thanet (Thanet, Sandwich & Deal)  [PLUS Kmfm Ashford @£18.20] KMFM West (3 charged separately) 1  Kmfm (Maidstone)  Kmfm Medway (Medway Towns)  Kmfm West Kent (Tunbridge Wells & Sevenoaks) Lincs FM 102.2 London Greek Radio London Turkish Radio (LTR) Magic 828 (Leeds)

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RATE CARD- INDEPENDENT RADIO COMMERCIALS PAYMENTS 2012

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£22.45 (cont.)

£18.20 (cont.)

Magic 1161 AM (Humberside, E. Yorks & N. Lincs|) Magic 1170 (Teeside) Magic AM (South Yorkshire) Mansfield 103.2 Manx Radio Mercia FM Midwest, Blandford & The Vale (Vale 96.6/97.4 FM) Midwest, Somerset & W Dorset (Ivel 105.6/106.6 FM) Minster FM Mix 96 (Aylesbury) Moray Firth Radio 1107 AM More Radio 107.7 FM (Swindon) (was Total Star Swindon 107.7FM/BrunelFM)1 NECR Northsound 1 Northsound 2 99.9 Radio Norwich Nova Radio (was 107.7 Star Radio Weston-Super-Mare) Oak 107 FM (Loughborough) Oak 107.9 FM (Hinckley) 1 Original 106 (Aberdeen) Palm 105.5 (Torbay) Peak FM (Chesterfield) 102.5 Radio Pembrokeshire Pirate FM (Cornwall) Radio Plymouth 106.7 FM The Pulse of West Yorkshire Pulse 2 (Yorkshire) 3 Q97.2 Causeway Coast Radio (Coleraine) Q101 West (Omagh & Enniskillen) Q102 (Londonderry) Reading 107fm 96.3 Real radio XS (Paisley) (was 96.3 Rock Radio (Paisley)) 1 96.2 The Revolution 3 Ridings FM 97.4 Rock FM (Preston & Blackpool) Rother FM (Rotherham) Rutland Radio Sabras Radio Seven (107 FM) (Ballymena) 106.5 & 107.1 The Severn (Shrewsbury & Oswestry) 107.4 The Severn (was 107.4 Telford FM) 1 Signal 1 Signal 2 106.9 Silk FM Southend Radio 105.1 South West Sound FM 107.5 Sovereign Radio 102 Spire FM Spirit FM 107.7 Splash FM 107.9 Star Radio (Cambridge & Ely) Star Radio North East (3 charged separately)  Star Radio NE (Darlington - 103.2fm)  Star Radio NE (Durham - 102.8/106.8)  [PLUS Star Radio NE Northallerton 103.5/ 102.3)(was Minster Northallerton) @£18.20] 97.2 Stray FM 103.4 Sun FM Sunshine 106.2 & 107fm (Monmouthshire) Swansea Sound Tay FM Tay AM

TFM Radio Time 107.5 (Romford, Barking & Dagenham) Time 106.6 (Maidenhead, Windsor, Slough) Total Star 107.5 Cheltenham (was Star 107.5 FM Cheltenham) 107.4 Tower FM Town 102 fm (Ipswich) Touch Radio 96.2 (Coventry) Touch Radio 101.6/102.4 (Tamworth) Touch Radio 102 (Stratford-upon-Avon) Touch Radio 107.3 (Warwick) 3 Trax FM (Bassetlaw & Doncaster) 2BR (Burnley) U105 (Belfast) 96.9 Viking FM 96.4 FM The Wave (Swansea) Radio Wave 96.5 (Blackpool) Wave 102 (Dundee) Wessex FM 96.7 West FM West Sound 1035 AM 107.2 Wire FM (Warrington/Widnes/Runcorn) 107.2 The Wyre (Kidderminster) 102.4 Wish FM 107.7 The Wolf Wyvern FM Radio XL 1296 AM (Birmingham) Yorkshire Coast Radio (Scarborough)

Gold North Wales & Chershire 1260am (was Wrexham 1260am) 1 Gold Plymouth 1152am Gold South Wales 1305/1359am Gold Suffolk 1170/1251am Gold Sussex 1323/945am Gold Warwickshire 1359am (was Coventry & Warwickshire 1359am) 1 Gold Wiltshire 936/1161am (was Swindon & Wiltshire 936/1161am) 1 Gold Wolverhampton & Shropshire 990/1017am (was Wolverhampton, Shrewsbury, Telford 990/1017am)1 Radio Hafren (was Radio Maldwyn) 1 Heart Devon (4 charged separately)  Heart 100-102 (South Hams) (was South Devon/ South Hams Radio) 1 [PLUS the 3 other £22.45 Heart Devon stations] Heartland FM (106.6 Perth) (was Perth FM)1 High Peak Radio (Buxton) Isles FM 107.8 Radio Jackie KMFM East (4 charged separately)  Kmfm Ashford [PLUS the 3 other £22.45 KMFM East stations] (Note: There is a KMFM West grouping in the £22.45 band) Lakeland Radio Lochbroom FM Magic 999 (Preston) Nevis Radio Newbury Sound North Norfolk Radio Oban FM RNA FM (Arbroath/Carnoustie) 107.1 Rugby FM 97.5 Scarlet FM SIBC Six FM (Mid Ulster) Star Radio North East (3 charged separately)  Star Radio NE (Northallerton - 103.5/ 102.3) (was Minster Northallerton) [PLUS the 2 other £22.45 Star Radio NE stations] Sunrise FM (Yorkshire) Sunshine Radio 855 (South Shropshire) 3FM (Douglas, Isle of Man) 3 Two Lochs Radio (2LR) Waves Radio 101.2 (Peterhead) Yorkshire Coast Radio (Bridlington) YOUR radio (Dumbarton, Helensburgh, Argyll & Bute)

£18.20 Andover 106.4 fm (Andover) Argyll FM (Kintyre, Islay & Jura) 96.7 Ashbourne Radio 107.6 Banbury Sound (was Touch Radio 107.6 Banbury) 3 102.1 Bay Radio (Swansea) 3 Breeze 102.4 (West Somerset) (was Total Star West Somerset/Quay West 102.4 FM) 1 Breeze 107.5 (Warminster) (was More Radio 107.5/Total Star 107.5 FM/107.5 3TR FM) 1 Breeze 107 ( 2 charged separately)  Breeze 107.2/107.8 (Winchester & Southampton) (was Play Radio) 3  Breeze 107.4 (Portsmouth) (was 107.4 The Quay) 3 Radio Ceredigion 3 County Sound Radio 1566 MW (Guildford) Cuillin FM (Skye & Lochalsh) Energy FM (Douglas, Isle of Man) Five FM (Newry & Surrounding Areas) Glide FM 107.9 (was Oxford’s FM 107.9) Gold Berkshire & N. Hampshire 1431/1485am (was Thames Valley 1431/1485am) 1 Gold Cambridgeshire 1332am (was Peterborough 1332am) 1 Gold Dorset & Hampshire 828 am (was Bournemouth 828am) 1 Gold East Midlands 945/999am (was Nottinghamshire & Derby 999am) 1 Gold Essex 1359/1431am Gold Gloucester 774am (was Gloucester/Cheltenham 774am) 1 Gold Hampshire 1170/1557am (was S. Hants 1557/1170am) 1 Gold Herts, Beds & Bucks 792/828am (was East of England 828/792am) 1 Gold Kent 1242/603am Gold Norfolk 1152am Gold Northamptonshire 1557am (was Northampton 1557) 1

All Community Stations All RSLs All University Radio Stations All Garrison Stations In-Store Radio Commercials Per voice performed per script used in or transmitted to: 1 - 149 stores: £25.00 150 - 299 stores: £29.45 300 + stores: £36.50

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Since January 2004 previously linked pairs of FM and AM radio stations on the Equity Rate Card have been “unbonded”, meaning that a separate voice-over fee has become payable for transmission on the second station of a previously bonded pair. Whilst the principle of separate payments for separate stations is now accepted by all parties, we are aware that in practice some radio stations have expressed difficulties concerning its immediate implementation. In light of this, Equity has put in place transitional arrangements as follows:

If TX is on both FM + AM stations as per the following listAM station to be charged at 25% of Rate Card AM rate. The combined rates for these pairs are below: Rates valid until 31 Dec 2012 (Errors and omissions excepted) 96.3 Aire + Magic 828 (Leeds) = £28.05 Beacon FM + Gold Wolverhampton/Shrewsbury/Telford 1 = £27.00 96.4 FM BRMB + Gold Birmingham & North Worcestershire 1152 am = £38.25 95.8 Capital FM (Greater London) + Gold London 1548 1 = £92.85 102.8 Capital (East Midlands -Derby) + Gold East Midlands 945/999am 1 = £27.00 96 Capital (East Midlands -Nottingham) + Gold East Midlands 945/999am 1 = £27.00 103.2 Capital South Coast + Gold Hampshire 1170/1557am1 = £27.00 97.4/103.2 Capital FM (South Wales) + Gold South Wales 1305/1359am 1 = £27.00 Radio City 96.7 + Magic 1548 (Liverpool) = £38.25

Heart 97.6 (Beds Bucks Herts) + Gold Herts, Beds & Bucks 792/828 am (was East of England 828/792 am) 1 = £27.00 Heart 102.3 (Dorset) + Gold Dorset & Hampshire 828am (was Bournemouth 828am) 1 = £27.00 Heart 102.4 (Gloucestershire) + Gold Gloucester 774am (was Gloucester/Cheltenham 774am) 1 = £27.00 Heart 102.4 (Norfolk & N. Suffolk) + Gold Norfolk 1152am = £27.00 Heart 102.4 /103.5 (Sussex) + Gold Sussex 1323/945am = £27.00 Heart 102.7 (Peterborough) + Gold Cambridgeshire 1332am (was Peterborough 1332am) 1 = £27.00 Heart 102.9/97 (Berkshire) + Gold Berkshire & North Hampshire 1431/1458am 1 = £27.00 Heart 103.1/102.8 (Kent) + Gold Kent 1242/603am = £27.00 Heart 103.4 (Cheshire & North East Wales) + Gold North Wales & Cheshire 1260am 1= £27.00 Key 103 (Manchester) + Magic 1152 (Manchester) = £38.25 LBC 97.3 FM + LBC News 1152 AM = £76.00 Mercia FM + Gold Warwickshire 1359am 1 = £27.00 Metro Radio + Magic 1152 AM (Tyne & Wear) = £39.05 Northsound 1 + Northsound 2 = £28.05 The Pulse of West Yorkshire + Pulse 2 3 = £28.05 97.4 Rock FM (Preston & Blackpool) + Magic 999 (Preston) = £27.00 Signal 1 + Signal 2 = £28.05 Tay FM + Tay AM = £28.05 96.6 TFM + Magic 1170 (Teeside) = £28.05

Clyde 1 + Clyde 2 = £39.05 96.4 Eagle Radio + County Sound Radio 1566 (Guildford) = £27.00 97 Forth One + 1548 Forth 2 = £28.05 Hallam FM + Magic AM (S. Yorks) = £28.05 Heart 96.3 (Bristol) + Gold Bristol & Bath 1260am = £28.05 Heart 96.3/102.6 (Essex) + Gold Essex 1359/1431am = £27.00 Heart 96.6 (Northamptonshire) + Gold Northamptonshire 1557am 1 = £27.00 Heart 96.7/97.5 (Hampshire & W Sussex) + Gold Hampshire 1557am 1 = £27.00 Heart 96.9 (Bedfordshire) + Gold Herts, Beds & Bucks 792/828am 1 = £27.00 Heart 97/96.6 (Plymouth) + Gold Plymouth 1152am = £27.00

96.9 Viking FM + Magic 1161 AM (Humberside/E.Yorks/N. Lincs) = £28.05 96.4 FM The Wave (Swansea) + Swansea Sound = £28.05 96.7 West FM + West Sound AM = £28.05

Equity Contact For queries please contact: Tim Gale Commercials Organiser Tel: 020 7670 0245 E: tgale@equity.org.uk Fax: 020 7836 5313 Published & Copyright © 2011-2012 Equity. All rights reserved. No reproduction allowed, in whole or part, or in any form, without prior written permission of the publisher. Equity, Guild House, Upper St Martin’s Lane, London, WC2H 9EG.

Heart 97.1/96.4 (Suffolk - Bury St Edmunds & Ipswich) + Gold Suffolk 1170/1251am = £27.00 Heart 97.2/102.2 (Wiltshire) + Gold Wiltshire 936/1161am1 = £27.00

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www.equity.org.uk

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137

APPENDIX 6:

MEMBERS OF STAFF GENERAL SECRETARY’S DEPARTMENT General Secretary

Christine Payne

PA to General Secretary

Laura Thomson

Human Resources Manager

Chris Bateson

Policy Development Officer & Assistant to General Secretary

Louise McMullan

Head of Finance

Duncan Smith

Finance Officer

Richard Mason

IT Manager

Matthew Foster

Reception & Administration Assistant

Sandy Nation Hay

Administration Assistant

Sarah Phipps

Administration Assistant (Postroom)

Moreno Ferrari

COMMUNICATION & MEMBERSHIP SUPPORT Assistant General Seceretary (Communications & Membership Support)

Martin Brown

Campaign & Publications Officer

Phil Pemberton

Marketing, Events & Training for Members Officer

Louise Grainger

Tax & Welfare Benefits Officer/Equalities Officer

Max Beckmann

Tax & Welfare Rights Organiser/Minute Secretary’

Alan Lean

Legal Claims Referral Officer

Martin Kenny

Membership Relations & Head of Department

Matt Hood

Membership Relations Assistant

Kristin Hamada

Job Information Officer

Tracey Stuart

Membership Records Officer

Linda Elves

Membership Records Officer

Pauline Yip

Membership Records Support

Cheryl Philbert

Membership Records Support

Glenda Burgess

Membership Records Support & Organising Assistant

Brenda Toussaint

LIVE PERFORMANCE DEPARTMENT Assistant General Secretary

Stephen Spence

HoD

Hilary Hadley

PA to HoD

Wayne Bebb

West End Organiser

Virginia Wilde

London Area & Commercial Tours Theatre Organiser

Paul Fleming

Variety Organiser

Michael Day

Contract & General enquiries

Jan Murdock

Recruitment Organiser - London based

Steve Rice

Organising Assistant - Live Theatre and Variety rates

Shannon Burns

Organising Assistant - Theatre and Variety rates

Kevin Livgren

South East Organiser

John Ainslie

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ANNUAL REPORT 2011

RECORDED MEDIA DEPARTMENT HoD

John Barclay

BBC television agreement/TV WP/presenters/walk-on & supporting artists committee

Ian Bayes

ITV Organiser/TV WP/BBC Audio Agreement/BBC Singers/Audio Cmt/Audio books WP Cathy Sweet Films Organiser/Stunt cmt/fim, broadcast & multimedia H&S wp

Tim Gale

TV/Radio commercials/New Media WP

Matt Clarke

Royalties & Residuals Manager

Nick Craske

Organising Assistant (BBC, PACT TV, ITV and Audio)

Alex Moreau

Contract Enforcement Officer (Royalty and Residual queries)

Laura Messenger

Organising Assistant

Christine Blake

CARDIFF OFFICE National & Regional Organiser - Wales & South West

Chris Ryde

Organising Assistant

Mair James

GLASGOW OFFICE National Organiser - Scotland & Northern Ireland

Lorne Boswell

National Organiser - Scotland & Northern Ireland

Drew McFarlane

Organising Assistant

Marlene Curran

MANCHESTER OFFICE North West Regional Organiser

Jamie Briers

Recruitment Organiser

Andrew Whiteside

Organising Assistant

Mary Hooley

MIDLANDS OFFICE Midlands Organiser

Tim Johnson

SHEFFIELD OFFICE North East Regional Organiser

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Nigel Jones

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139

APPENDIX 7:

GENERAL BRANCHES LONDON BRANCHES

NORTH AND EAST LONDON Covering: City of London, Islington, Hackney, Haringey, Enfield, Camden (WC1and WC2 only), Westminster (WC2 only), Tower Hamlets, Waltham Forest, Newham, Redbridge and Barking. KATE BANCROFT nel.equity@gmail.com NORTH WEST LONDON Covering: Camden (excluding WC1 and WC2), Brent, Barnet, Harrow and Westminster (W1, W9, NW1, NW6 and NW8 only). NIM JOHNSON 16 Heath Hurst Road LONDON, NW3 2RX Tel: 07885 186443

WEST AND SOUTH WEST LONDON Covering: Westminster (W2 and SW1 only), Kensington and Chelsea, Hammersmith & Fulham, Ealing, Hounslow, Hillingdon, Wandsworth, Richmond, Kingston, Merton and Sutton JENNIFER THORNE 56 Melrose Av LONDON, SW19 8BX Tel: 020 8946 1859 SOUTH AND SOUTH EAST LONDON Covering: Lambeth, Southwark, Lewisham, Greenwich, Croydon, Bromley and Bexley. RICHARD DARGAN 26 The Glade Old Coulsdon Surrey, CR5 1SL Tel: 01737 559450

REGIONAL BRANCHES BRIGHTON AND SUSSEX DI LANGFORD 16a Hamilton Road BRIGHTON, BN1 5DL Tel: 01273 541134

EAST OF SCOTLAND HELEN RAW 9/5 Dorset Place Edinburgh, EH11 1JQ Tel: 0131 478 5342

BRISTOL & WEST RACHAEL FAGAN Flat 2 Aubrey House, Aubrey Road, BRISTOL, BS3 3EX Tel: 07941 320855

ESSEX LIZ MULLEN 40 Scarletts Road, Colchester, Essex, CO1 2HA Tel: 01206 366335

CARDIFF AND SOUTH WALES C/o Equity Transport House 1 Cathedral Road Cardiff, CF1 9SD Tel: 029 2039 7971

KENT MARIE KELLY 8 Harold Street DOVER, Kent CT16 1SF Tel: 01304 202544

CENTRAL ENGLAND TRACEY BRIGGS 14 Ashmore Road, Bournville BIRMINGHAM, B30 2HA Tel: 0121 458 7619

HOME COUNTIES WEST NATALIE JENNO branch_sec_hcw@btinternet.com

DEVON AND CORNWALL JEREMY FRIDAY 113 Oaklands Park Buckfastleigh Tel: 01364 643483

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MILTON KEYNES RACHEL DOBELL mkanddistrict.equitybranch@gmail.com NORTH WALES C/o Equity Transport House 1 Cathedral Road Cardiff, CF1 9SD Tel: 029 2039 7971 NORTH WEST OF ENGLAND RICHARD HOWELL-JONES Flat 11, 18 Wardle Road SALE, Cheshire M33 3DB Tel: 0161 868 0411 YORKSHIRE RIDINGS AUDREY ROSELYN POINTER cyberaud-equity@yahoo.co.uk

ISLE OF MAN JOANNE DAINTON Oak Lodge 38 Vicarage Park DOUGLAS, Isle of Man, IM2 2QE Tel: 01624 619077

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APPENDIX 8:

SCRUTINEERSâ&#x20AC;&#x2122; REPORT EQUITY RULE CHANGE REFERENDUM 2011

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Incorporating the Variety Artistes’ Federation President: MALCOLM SINCLAIR Vice Presidents: DAVID COCKAYNE and JEAN ROGERS Honorary Treasurer: BRYN EVANS General Secretary: CHRISTINE PAYNE Council 2010-2012 (elected 2010) General Kate Bancroft Ian Barritt Jo Cameron Brown Jonathan Cecil* Esther Ruth Elliott Peggy- Ann Fraser Graham Hamilton Joseph Kloska Corinna Marlowe Pauline Moran Ellie Paskell Peter Polycarpou Frederick Pyne Jean Rogers Tim Walton John Webb Samuel West Audio Artists Sheila Mitchell Choreographers Paul Mead Chorus & Ensemble Ryan Forde Iosco Rebecca Louis Dance Natasha Gerson

Minority Ethnic Artists Sanita Simms Opera Bryn Evans Singers Dennis Ray Stage Managers Fiona H Mott Stunt Performers Riky Ash Theatre Designers David Cockayne Theatre Directors John Carnegie TIE & YPT Andy Medhurst Variety, Light Entertainment & Circus Annie Bright Dave Eager Mary Lane Brenda Marsh Tina May Rhubarb the Clown

Walk-ons Henrietta Branwell Christine Bucci London Area Peter Barnes Midlands Area Sally Treble Northern Area Yvonne Joseph Northern Ireland Maggie Cronin Scotland Kate McCall South East Area Laura Bailey South West Area Nicky Diprose Wales Julia Carson Sims *Died in post and replaced by Alan Thompson

Head Office: Guild House, Upper St Martin’s Lane, London WC2H 9EG. Tel: 020 7379 6000 Regional Offices North West: Express Networks, 1 George Leigh Street, Manchester M4 5DL. Tel: 0161 244 5995 North East: The Workstation, 15 Paternoster Row, Sheffield S1 2BX. Tel: 0114 275 9746 Midlands: Office 1, Steeple House, Coventry, CV1 3BY. Tel: 02476 553612 Scotland & Northern Ireland: 114 Union Street, Glasgow G1 3QQ. Tel: 0141 248 2472 Wales & South West: Transport House, 1 Cathedral Road, Cardiff CF1 9SD. Tel: 029 2039 7971

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