Spring 2016 - Equity Magazine

spring 2016 www.equity.org.uk

New agreements in film and theatre Improved deal on audition expenses #BackTheBBC campaign news

The rise of UK film Riz Ahmed talks Indie hits and upcoming blockbusters

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Contents 04 New agreements launched 06 ENO must be saved

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News

Success stories 10 12

Audition expenses BBC Three pay

Cover story

08 Riz Ahmed on film

Features

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14 UK Film Agreement 18 Access to work 20 Commercial theatre

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Campaigns

24 #BackTheBBC 26 Fighting the TU Bill

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22 Member offers 30 Letters 32 Branch update

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Star Wars: The Force Awakens and Spectre, below, were made on Equity agreements

front of house

upfront

Sound advice Members can experience damaging levels of noise when working. here is a resource that can help Entertainers and musicians are regularly exposed to potentially damaging levels of noise when working. This can be from amplifiers, PA systems, musical instruments and other sound equipment. If unchecked, this can lead to long term hearing damage for the artists concerned. Equity’s Variety, Circus and Entertainers Committee are publicising a great source of information on the subject. This is to be found on the website www.soundadvice.info and includes advice compiled by the Health and Safety Executive in conjunction with Equity and other interested industry parties. There is guidance on the maximum recommended time for regular levels of exposure and about products that can be purchased to protect hearing.

Pay rises in new agreements for film and theatre Successful new deals deliver fee rises and better working conditions. Film agreement underpins UK movie industry and commercial theatre contract protects stage managers and performers

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spring 2016

Union questions Arts Council funding decision Equity has asked Arts Council England (ACE) to justify its decision to award £150,000 of public money to company You and Me Bum Bum Train (YMBBT), when professional performers engaged on the project are being asked to work for free.

This is a subsidy in addition to tickets being sold on a commercial basis at rates typical of a West End show.

YMBBT alerted artists to the engagement by advertising for dancers through sites used by professionals to find professional work. Indeed, the high-quality presentations require professional skills and commitment in order to be viable. Equity sent a letter

A Panto survey?

Oh yes it is!

Please take the time to fill in our survey on working in pantomimes to ACE CEO Darren Henley asking for him to clarify why, at a time of heightened government cuts, such a large award had been made to a company which does not pay professional artists. Mr Henley explained the decision on the basis that: “YMBBT may attract the interest of professional actors, dancer and musicians as you indicate in your letter but they take part in the capacity of volunteers”.

Find out more from www.equity.or.guk/YMBBT

www.equity.org.uk

Shutterstock

Equity has recently concluded two successful agreements in the areas of cinema films and commercial theatre.

The new cinemas films agreement will see fees rise 12% by 2018 and, for the first time, the deal has provisions for performance capture work. Equity is one of the first unions to have negotiated terms for this increasingly significant area of performance. This reflects the leading work by the UK’s Imaginarium Studios and various upcoming titles such as Tarzan and The Jungle Book featuring central performance capture roles. Further news in film concerns Equity’s ongoing audits of the Hollywood Studios that are part of enforcing our agreements.

As a consequence the union has recovered more than $15 million for members over the past three years.

Meanwhile the new commercial theatre agreement has been concluded and this means that actors and stage management working in commercial theatre outside London are to get a pay rise of up to 13%. The union can celebrate the conclusion of a great deal with successes such as providing proper terms for actor-musicians; standard forms to make buy-outs more accountable; regulations around call times in performance; improvements in differentials between eight and twelve show weeks; and updated rules around auditions.

Find out about the growth of UK film and our agreement on page 14 Learn more about the new commercial theatre agreement on page 20

Every year, Equity staff give a great amount of support to members needing help while working on pantomimes.

For many, panto jobs are a very positive experience, but in some cases members face serious problems.

The union is determined to make sure the classic British panto tradition is not undermined by poor working practices. The first step is our survey of the experiences of Equity members who have recently worked on a panto, so if you were in a panto in 2015/16 – whether it was a major theatre production, or a small-scale tour – please take a few minutes to fill in the survey and make sure your voice is heard. Please visit: www.surveymonkey.co.uk/r/equitypanto

Christine Payne General Secretary

Equity agreements have been the bedrock of our industry since the union began 85 years ago – it’s members’ involvement that will continue their success A quiet milestone was passed last year. On 8 December 2015, your union reached its 85th birthday without fanfare and pretty much business as usual.

The business, however, has changed greatly since 1930. The early pioneers such as Dame May Whitty, Robert Donat and Margaretta Scott signed the following declaration: “We, the undersigned, hereby pledge ourselves that we will not enter into any engagements with theatre managers on conditions which would deny our right to refuse to work with non-members of Equity”. This is the pledge this union was founded on long before a closed shop was formally established. They protected the profession with the tools available to them in the era in which they lived.

Those protections were further developed over the decades until the 1990s, when the ability to have a closed shop was removed by the UK government and there is no possibility of this being restored.

Today, Equity has no role in determining who is engaged or who members work with. While we always attempt to persuade engagers to use Equity members, who by definition are professionals, the union cannot advise members to refuse to work with non-members of the union. However, what we can do is encourage non-members to join the union, especially when they are working on an Equity-negotiated contract and therefore getting the benefits of the work the union has done – and you the members have paid for in your subscriptions.

As a trade union we can still influence the terms on which engagements take place, the wages and conditions and many other factors. We do this through collective bargaining. Our collective agreements are the bedrock of Equity and must never be taken for granted. But for the support of many members working in feature films in 2002, including Alan Rickman and other members of the cast of a Harry Potter film, we would not have achieved a film agreement that provided for ongoing-use fee payments. This meant that, from 2002, for the first time performers had the right to receive ongoing-use payments and to share in the success of the film. So

far, the union has collected and distributed more than £16m to performers, and as more films are being made under the new agreement more payments due to performers are being received.

This magazine is full of examples of where the union’s negotiated agreements have been improved and are a firm foundation on which our members (and their agents) can be paid for the work you do. Is it easy? No. And in order to make sure we are properly representing how the business is changing it is vital that members get involved – on our committees and on the Council. You had your chance to stand for the committees last year and this year will be your chance to stand – and vote for – the Equity Council and President. The leaders of your union.

The employers, government and funders say they are committed to improving diversity on our stages, screens and airwaves. Over the next few years they will be monitoring and measuring who is engaged and, in some cases, the type of role they are engaged in. Equity needs to reflect the diversity of the workforce and all voices need to be involved to make sure the knowledge and experience of members holds those commitments to account.

While Equity’s agreements are generally negotiated without recourse to industrial action, members must have the right to take such action. The Trade Union Bill threatens the fundamental right to strike as well as imposes huge new red tape on unions. From 8–14 February the TUC will run a special week of activity to showcase the amazing work that trade unions do. Anything you can do to support Equity and all trade unions during that week in particular will be very much appreciated.

Finally, this year will determine the future of the BBC. All the entertainment unions are behind the Love It or Lose It campaign. We all have a part to play in this – the Brighton & Sussex General Branch even took to the streets! Please think about what you can do, look out for events being organised and, whenever possible, show your support for the BBC.

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front of house

In brief...

Annualconference Equity Conference

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2016 ARC in thison issue of theThe magazine, see will take page. place in Bristol on 21, 22 opposite and 23 May.

Popularis appointed BBC deal The Equity Council has appointed

The union(http://popularis.org) has reached an Popularis to act interim agreement with the BBC as the independent scrutineer for the Minimum feesof forCouncil, main artists are 2016 elections President, up by 2.5% and supporting artists Appeals Committee and Standing and walk-ons fees have also been Orders Committee. increased by 1%. The agreement also includes a pre-purchase of certain rights. The deal is effective Members voting2014. in a referendum have from 1 October agreed by an 84% majority that the Audio Artists’ reserved seat on the Equity Council should be brought EquityThis strongly opposes back. will be put into effect in the censorship and isinextremely Council elections 2016. Nominations concerned that this show open in February and close in May. was forced close.inThe union’s Voting takestoplace June and July. consistent position is that it supports artistic freedom of expression.

In a hearing in October into a complaints against Equity made by Equity member Roy Radford the Welsh soap opera y Cwm certification officerPobol for Trade Unions has received a special Bafta and Employers’ Associations honouring the 40thhis first determined notshow’s to uphold anniversary.

The award was made complaint that any complaint presented at an event at Roath under Equity Rules must be addressed Lock Studios in Cardiff within two months of itsBay. receipt by the Hannah Secretary Raybould,ordirector of General the President.

On Bafta Cymru, presented theof whether the second and third issues accolade to actor Gareth Lewis, all complaints to the General Secretary who acceptedincluding it on behalf of the or President, those which cast and crew. under Rule 28.4.2 had been judged not to merit discussion, must be reported to the Council, he found in Roy Radford’s favour. For more see: Equity’s West Coast network in the www.equity.org.uk/certification-officer US is having an event to connect with fellow members living or working in Los Angeles or nearby.

Negotiations are on underway for a new It will take place 5 November, Equity/Independent Theatre Council 7.30pm – 10.30pm and the venue Ethical Manager Following is Timmy Nolan’sagreement. bar on Riverside consultation with members, Equityhas Drive, CA 91602. submitted a claim for a 3% increase in pay and other improvements.

Referendum result Exhibit B show

Certification officer

Pobol y Cwm award

future of English National Opera under threat Equity is warning that irreparable damage could be done to opera in this country if English National Opera (ENO) is forced to cut production.

The union’s head of live performance Hilary Hadley, writing in the Guardian, said: “Equity has long maintained that London – a world-class cultural capital with its resident population of 8.6 million people and with 17.4 million visitors recorded in 2014 – should, as a minimum requirement, be able to support two opera houses.

“The Royal Opera House is an international opera house singing opera in the language it was written and engaging many international opera singers. London deserves such an opera house. The ENO, however, produces operas in English, engages our own homegrown and home-trained principal singers and is easily accessible to Londoners and visitors alike. It is

an opera house of which London can be proud.”

In December a group of leading opera practitioners, including head of the Royal Opera House Sir Antonio Pappano, wrote to the Times claiming that plans to reduce ENO’s chorus members’ contracts and limit its productions to just eight a season could “destroy” the company. “ENO is first and foremost a company of musicians,” states the letter. “Decisions have been made about the future of the company without public consultation despite its public subsidy.”

Equity has written to Culture Secretary John Whittingdale and Mayor of London Boris Johnson asking them to publically state their commitment to London continuing to have two opera house that produce their own work.

Join the campaign at www.equity.org.uk/ENO

Listen to the magazine If you, or a fellow member, has difficulty in reading printed material the Equity magazine is also available as an audio file or cassette tape.

US network ITC update

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spring 2016

To receive it, contact the RNIB via: Donna Gordon, donna.gordon@rnib.org.uk 01733 375106 www.equity.org.uk

www.equity.org.uk

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meet the membership

Talking pictures Actor and rapper Riz Ahmed is a busy man. Aside from his successful musical work he has carved out a career in a series of indie hits such as Four Lions and Nightcrawler. He is soon to appear in the new Star Wars film: Rogue One Interview Phil Pemberton

Q

In terms of talent, do you think the UK punches above its weight on the international scene?

I think British or, say, American actors both have the capacity of being very professional or very unprofessional! It differs from person to person and even the same person from one project to the next. There can be such a weird alchemy that takes place with different personalities on set.

One of the advantages that we probably have in the UK is our theatre tradition. Inheriting that mentality of craftsmanship, teamwork and rigour.

That disciplined repetition. That kind of ensemble mentality lends itself well to the collaborative feeling of film.

Getty/Maarten de Boer/Everett/Rex

Q

You’ve just finished filming the indie movie City of Tiny Lights and are currently filming the new Bourne movie. Are there major difference between working on indies and studio films?

It’s interesting to see that as more Hollywood studio productions are being filmed in Britain there seems to be an overlap in the use of talent. For example, I have been bumping into familiar faces while filming Star Wars. There were camera operators that shot my short film for me and sound people that were on my first movie with Michael Winterbottom. Plus, you have Brit directors such as Gareth Edwards on Star Wars and Paul Greengrass with Bourne. So it’s probably

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more similar than you would imagine. One difference about the small indie films is that you’ve got to really plan everything meticulously and far in advance because there is not any leeway financially or time-wise. With the bigger productions there is the option to re-take and re-film if necessary.

Q

Are you prepared for the attention being in a Star Wars film can bring?

I wasn’t that teenager who was out buying lightsaber toys but I certainly saw the films and I went back and revisited them for the role. It’s been fascinating working in the environment and witnessing the scale of the production. It’s really inspiring across all departments from props to costume and set designs. It makes you raise your game. But I try to stay away from thinking about how it might be assessed or what the perception of the film may be.

Q

Have you witnessed a growth in the UK film industry?

I have. That may be because when I was starting out I was not getting a chance at big budget films and now I am, but from speaking to other actors and seeing the investment studios have made in the UK, plus the tax breaks on offer, it does feel like there has been a change.

Q

You’ve written and directed a short film called Daytimer, about day-time raves in London. What was your biggest challenge in getting that made?

The most difficult, and newest, part of it for me was the edit. I was lucky enough to work with Dom Leung, who edited Catch Me Daddy and Son Of Rambow. It was a real learning experience and it helped me when I got back to acting on film. I realised that you don’t need to carry the whole story with you but can deliver those tiny moments of truth that shine through in the edit.

Q

Does UK film need to catch up with America in terms of representing the diverse nature of society?

There’s a massive issue with... I don’t even like to call it diversity. I call it honesty, because you need to be honest about the society that these stories are coming from and where we’re creating the stories. Sadly, I do think we’re further behind here in the UK. I’m really proud to be a Londoner and Riz in Four very proud to be British but we Lions, left. He has can’t expect to continue to be just completed work on a cultural powerhouse indie City of Tiny Lights globally if we don’t update and is working on the our national story. new Bourne movie – I believe that the kind of all UK films multicultural reality of

www.equity.org.uk

I wasn’t that teenager buying lightsaber toys, but it has been fascinating witnessing the scale of Star Wars” modern Britain is a goldmine that we are sitting on and that we have yet to tap into properly. Just look across all the other art forms, whether it’s music, where our Afro-Caribbean influence creates genres such as dubstep that then go on to take over the world. Or look at literature, with authors such as Zadie Smith and Salman Rushdie. We need to embrace the multicultural reality of our society in the stories we tell. It’s a trick that we’re missing and it’s something that I really hope changes. It’s strange because America seems far more segregated to me than British society. Both countries are buying into their myth rather than reflecting the reality. The myth of American society is that it’s this great melting pot and that is reflected in more diverse TV and films, but actually the reality is it’s really segregated in the US. Just look at the housing situation. In the UK the myth here is of a Downton Abbey and period drama society, so we invest in and portray that. But the reality here is that it’s really mixed and multicultural. Both societies seem to have a form of denial when it comes to the stories they are telling.

Q

The Reluctant Fundamentalist director Mira Nair used music playlists to prepare you and the cast for their roles. Is this something you find useful?

I definitely do prepare music playlists for some characters. I think music can tap into emotions and memories in a very immediate way. It can really help to access experiences that you might have set up in your mind for a character. The music you listen to can reflect a world view and tell the story of how you grew up, so I do really find it useful. However, I don’t do it all the time, sometimes it may be more appropriate to read certain books. It’s about cultivating a way of seeing things that is in line with the character’s views.

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success stories

Union secures RSC regional auditions Actress Lindsey Coulson spoke in defence of the BBC to MPs and Peers as Equity members put the case to Culture Secretary John Whittingdale, below right

bbc TOPS THE AGENDA AS eQUITY VISITS PARLIAMENT union members question lawmakers on bbc as corporation comes under fire from government Equity’s annual Parliamentary reception is an opportunity for members to discuss the pressing issues of the entertainment industry directly with MPs and Peers.

The latest meeting concentrated on the ongoing threat to the future of the BBC. Equity has raised concerns that the green paper government consultation on the BBC does not include a single representative of the thousands of workers who contribute so much to the success of the Corporation and

appears to have been stacked with people who have already made up their minds over how it should be run.

The actress Lindsey Coulson, who has worked on productions for the BBC for many years, most notably in Eastenders, spoke at the event. She said: “In our view the BBC must continue to be a national broadcaster that can invest in jobs and programming made in and for the whole of the UK; as part of this we need to see more investment in programming in the Midlands, Scotland,

Wales and Northern Ireland.

“The BBC must also do better at reflecting our diversity as a country on screen. But a diminished BBC is not in the interest of our creative industries, our economy or our cultural life. Charter renewal is an opportunity for us to debate and discuss these sort of changes but it should also be an opportunity for us to celebrate that the BBC is the most successful public service broadcaster in the world.”

More on our BBC campaign on page 24

Improved audition expenses

Phil Adams, Tim Bradford.

The new West End and Commercial Theatre agreements contain an improved code of conduct for auditions that brings enhanced rights to expenses for those attending auditions for the West End and commercial tours. For the West End, after attending two auditions artists will be able to claim travel expenses when travelling from outside Zone 4 and after six auditions they will be able to claim all

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Arising from the negotiations around the 2016 production of Midsummer Night’s Dream, Equity has been working to secure a programme of auditions in the regions and nations for professional actors interested in working at the RSC. The union has been successful in getting agreement with the company for general auditions in Newcastle, Truro, Bradford, Belfast, Cardiff, Nottingham, Canterbury, Blackpool, Norwich and Glasgow.

The programme began with specific audition sessions in autumn 2015 with RSC associate directors in Truro and Cardiff for some of the remaining professional roles in ‘Dream’. It has continued with general auditions in Stratford in January and nine additional sessions planned around the UK in the first half of this year with a final session back in Stratford in June.

The RSC has established its own criteria for these auditions, which includes: You must be a full-time resident of the relevant region or nation.

You must not have had an audition with a member of the RSC casting department in the past three years.

To obtain further information on the criteria, or the process, Equity would suggest contacting castingroadshow@rsc.org.uk If you do not meet the criteria or feel that this process is not appropriate for you, the RSC suggests there may be other opportunities for you to meet the company in the future. You can keep in touch with them at any time by writing to suggestions@rsc.org.uk Equity President discusses deal on page 30

their travel expenses. For commercial tours all travel expenses will be paid after two auditions where they are held outside Zone 4. Equity is working with SOLT to devise a standard form so that claiming expenses will be easy. Once ageed, we will inform members. For more, contact Virginia Wilde (West End) vwilde@equity. org.uk or Paul Fleming (Tours) pfleming@equity.org.uk

www.equity.org.uk

Above, Adam James as Prime Minister Evans in King Charles III. Centre and right, Deborah Findlay receiving her awards and in the role of Volumnia in Coriolanus

Clarence Derwent rewards supporting roles Annual Equity awards for best supporting role in theatre took place at Duke of York’s Theatre in covent garden This year’s winners of the Clarence Derwent awards are Deborah Findlay for the role of Volumnia in Coriolanus at the Donmar Warehouse and Adam James for his portrayal of Prime Minister Evans in King Charles III at the Almeida and then Wyndham’s.

The Clarence Derwent awards are theatre awards given annually by Equity for the best individual male and female performances in a supporting role in a production.

The UK awards date back to 1948 and have an illustrious history of rewarding some of the most respected names in British theatre – including familiar names such as Sir Ian McKellen, Timothy West and Dame Judi Dench – but also many other actors whose contributions to British

theatre are most highly prized by their peers.

The judges were director Richard Digby Day, producer Thelma Holt, critics Kate Bassett and David Benedict, and Equity vice president Charlotte Cornwell.

The Awards were presented in November at the Duke of York’s Theatre, St Martin’s Lane, London. It is also the occasion when Equity presents its student and young member bursaries. The four bursaries, each of £500, were created as part of the union’s 75th anniversary year (2005) celebration and are funded from donations from Equity life members. The student bursaries went to Danielle Whitfield (Bristol Old Vic) and Scott Lyons (East 15) and the young member bursaries were awarded to Joanne Gale (actor) and Luke Hallgarten (circus performer).

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The Evelyn Norris Trust

success stories

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

fee boost as BBC three goes online

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

Additional 65% on top of fee secured as broadcasts move away from traditional model The union has secured a 65% additional fee for work on BBC Three as the channel completes its move towards an internet-only model.

The Corporation has said that the two main reasons for moving to a web-based approach are cost savings and to attract younger audiences who it believes are migrating to other online brands.

While BBC Three is officially shifting online in February, the BBC Trust has only approved the move on the condition that the channel’s long-form programmes will be shown on BBC One and Two after 10pm only.

Equity has been in negotiations with the Corporation over the past year to deal with the engagement of artists for the use of programmes within this new broadcast model.

Currently, members receive an engagement fee that acquires nine transmission periods on BBC Three as the linear channel.

Given the nature of online platforms, the BBC has told Equity that it requires a period of online availability and a repeat on BBC One or BBC Two after 10pm only. The Corporation is required by its Royal Charter to have transmissions on terrestrial television of programmes made for their digital platforms because the whole population does not have access to broadband and therefore cannot view the content.

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

BBC Three is known for hits such as comedy Gavin & Stacey, documentaries with Reggie Yates and Don’t Tell the Bride

These were a difficult set of negotiations where Equity rejected various proposals from the BBC. because the union believed that they did not properly reward members for the use of their work. Agents, through the Personal Managers’ Association and the Co-operative Personal Managers’ Association were consulted and Equity officials spoke with its sister union the Writers Guild of Great Britain before finalising the deal.

www.equitycharitabletrust.org.uk

Download the full details of the agreement with the Corporation on BBC Three from our website at: www.equity.org.uk/BBCThree Find out more information about Equity’s BBC agreements from BBC organiser Cathy Sweet on csweet@equity.org.uk

The union’s network in New York launched in December and was hosted by Bertie Carvel (right)

Mark McQueen

Equity hosts party to launch New York network Equity’s New York-based members celebrated the founding of the union’s new network in the Big Apple at their inaugural Christmas Party on 14 December.

The event was hosted by actor Bertie Carvel and he was joined by the cast of

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Broadway shows including King Charles III and A View From The Bridge as well as expatriate members from the US East Coast. It was also a great opportunity to present Adam James with his Clarence Derwent award (see page 11).

The New York network’s next meeting

will take place in late February and members in the New York City area will be emailed details directly.

If you are in New York and not currently registered with the network please email nyc@equity.org.uk for further information.

www.equity.org.uk

www.equity.org.uk

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film agreement

Made in the UK

The UK film industry is flourishing and Equity’s Cinema Films Agreement underpins its success.

Its latest version, launched in January, includes pay rises and provisions for motion capture Words Laura Messenger, Equity’s films and contract enforcement organiser

T

he British film industry is thriving. Last year saw the success of independent British films such as The Lady in the Van, Suffragette and Brooklyn alongside Hollywood blockbusters that chose the UK as their base – Avengers: Age of Ultron, Spectre and the long awaited Star Wars: The Force Awakens to name a few.

This year has also got off to a promising start with the recent release of The Danish Girl, and we can look forward to viewing independent films such as Youth, Pride and Prejudice and Zombies plus studio movies such as The Legend of Tarzan, the latest instalment in the Bourne series and JK Rowling’s Fantastic Beasts. All of these films were made right here in the UK. The UK has grown in popularity as a filming destination for a range of reasons.

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www.equity.org.uk

Films made on Equity agreements.

From left: Suffragette, The Danish Girl, Star Wars: The Force Awakens, Brooklyn

It offers very attractive tax incentives that act as a magnet for inward investment as well as keeping indigenous production from straying abroad. It has top-class facilities, historic locations, beautiful scenery and experienced crew.

Most importantly, it has tremendous talent. That is the best thing about this British film boom – it opens up phenomenal work opportunities for Equity members.

Better still, there is no sign of the UK’s popularity abating. Some of the Hollywood studios have built up their own infrastructure in the UK. Warner Brothers, thanks to the success of the Harry Potter franchise, has its very own studios in Leavesden, Hertfordshire and Disney has invested in several stages at Buckinghamshire’s Pinewood Studios.

Where does Equity come in? Well,

the overwhelming majority of films made in the UK are signatory to our Cinema Films Agreement – the governing agreement for performers’ engagements in feature films – negotiated between Equity and Pact, the producers’ association. The Cinema Films Agreement sets minimum terms and conditions covering all aspects of an engagement, meaning that once you have received your Equity contract you can rest easy because we are looking after your interests.

Equity has just finalised a new agreement and its terms will apply to any film commencing principal photography on or after 4 January 2016. The negotiation process with Pact was long, complex and hard fought and the dedication of the Equity members who serve on our Cinema Films Working

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film agreement

Because of Equity’s audits of Hollywood studios, we have recovered more than $15 million for members in the past three years” Group was invaluable.

The new agreement runs to April 2019, providing a certain and stable environment for both performers and producers for the foreseeable future.

This certainty and stability only enhances what is already an attractive scene for the UK as a film destination.

Given the current situation, it seems strange to look back at previous Equity agreements for feature film prior to 2002, which were essentially buy outs in perpetuity. A film could go on to be the biggest commercial success in history, but performers would not (without a top agent negotiating on their behalf) see a penny. That needed to change and, in 2002, Equity members

From left: Tarzan, Skyfall, Lobster, Avengers: Age of Ultron, Mr Holmes

came together, organised, and fought for the right to fair compensation for their creative contribution in the form of a royalty or net profit share payment.

We made the producers pay attention and ever since then the Cinema Films Agreement has included provision for Equity artists to participate in a film’s ongoing commercial success. This has, quite literally, paid off.

In the entertainment business, however, nothing is straightforward and following the initial trickle of income it soon became apparent that producers were far too accustomed to the old buy-out system and were not adapting to the new regime.

Cue the audits! Over the past few years Equity

has audited – through our LA-based auditors Gingold & Co. – all of the major Hollywood studios and from this we have recovered more than $15 million in the past three years alone.

It has been a painstaking process involving complex methodology but, as well as the significant financial recovery, we have strengthened our working relationship with Hollywood, with many companies specifically adapting their systems to ensure compliance with Equity rules.

The union continues to prove we are a force to be reckoned with when it comes to representing your interests.

We are confident that our ongoing enforcement work, alongside the enhanced royalties under the new agreement, will prove to be lucrative for members in the years to come.

If you are working or due to work on an Equity film production, union organisers always try to schedule a visit – so we hope to see you soon on set. Equity members can access the full agreement at www.equity.org.uk/FilmAgreement Further information from Equity’s films and contract enforcement organiser Laura Messenger, lmessenger@equity.org.uk

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Highlights from the new cinema films agreement A total minimum fee increase of 12% by April 2018 including an 8% rise in 2016 (6% effective 4 January and a further 2% effective 6 April) and further annual increases of 2% up to 2019. This means that by April this year the minimum daily rate for a performer on a full budget feature (£3 million and over) will be more than £500.

terms for this increasingly significant area of performance. This is a very welcome development in the view of UK’s Imaginarium Studios leading the way in this discipline and various upcoming titles such as Tarzan and The Jungle Book featuring central performance capture roles.

Stunt performer, session singer and audio engagements have been increased accordingly.

There is new wording regarding working conditions, health and safety and availability of shooting schedules ahead of an engagement.

We have also introduced new provisions defining minimum rest periods and the introduction of penalty payments if these rest periods are curtailed.

Rehearsals, overtime rates and fitting fees have also risen in line with the above.

Holiday pay has been increased to £14.72 per day.

The late payment penalty has been extended, it is now £10 per day to a maximum of £1,000.

Enhanced escrow caps from £7,000 per artist to £10,000 per artist mean improved protection in the (unlikely) case of non-payment of fees.

For the first time, there is an agreed provision and definitions around performance capture work. Equity is one of the first unions to have negotiated

www.equity.org.uk

There is a new Appendix for choreographers and dancers including safety criteria.

This agreement introduces a new option - Option C - in addition to existing Options A and B. These ‘Options’ are the means by which performers participate in the ongoing revenue generated through the exploitation of a film.

Option A relates to independent production and provides that performers share in the net profit of a film reportable through an independent third party.

Options B and C generally apply to high budget studio films and cater for a royalty payment after the expiration of defined pre-purchased periods. Under Option B , as a result of our negotiations, Royalties on home video/download to own/video on demand will now be triggered sooner.

The new Option C provides enhancements to the ‘option B’ Royalty structure in exchange for the clearance of all ancillary rights such as merchandising and extracts, which under ‘option B’ trigger minimal one-off payments. These enhancements include, for the first time, a royalty payable on US television uses.

Equity has also finally conquered a long-standing goal of securing an administration fee from producers, meaning that they (rather than Equity) will now absorb the cost of distribution of Royalty and Net Profit payments to performers.

spring 2016

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interview

going to work

Because of changes to the Access to Work scheme deaf and disabled members may have to pay extra if they want to get work

Sophie Partridge is a performer who is contesting government cuts to the scheme designed to help those needing practical support to work Photography Phil Adams

D

eaf and disabled people are underrepresented on our stage and screens and recent changes to a government scheme aimed at helping these people into work will make this situation worse. Sophie Partridge is a member of Equity’s Deaf and Disabled members Committee, who are campaigning against these changes, and has had personal experience of Access to Work problems.

“I have written my own performance piece that uses puppets. For this, I need a support worker to carry the props and basically help with the physical stuff that I can’t do,” she said. “I’ve been granted financial help with similar projects in the past but this time it has been questioned.

“I anticipate my case to be resolved eventually, but I am concerned about the Access to Work scheme requirements such as the need to earn a certain amount a year in order to qualify for help – this is no good if you are just starting out.”

Sophie trained at Graeae Theatre Company and worked with its chief executive Jenny Sealey.

Sealey has described her “huge worry” over deaf and disabled artists losing their Access to Work funding,

The need to earn a certain amount per year is no good if you are just starting out” meaning that theatre companies will not want to employ them because of the extra cost caused by the need for additional support. The government’s cap on the scheme has raised issues for her own work at Graeae in terms of the funding required for her use of a sign language interpreter, an issue that Equity members are also dealing with.

Sophie believes there is a lack of understanding at the Department of Work & Pensions on how Equity members work within the entertainment industry. She said: “The union is taking them through the issues and we hope they will realise how important this is.”

See a recent peice by Sophie: https://vimeo.com/148713531

Access to Work: the issues Access to Work provides crucial support for deaf and disabled people to work.

For every £1 spent through Access to Work, £1.48 is generated for the economy and a House of Commons report stated that “it transforms the lives of disabled people, many of whom would be unable to work without it”.

However, cuts mean that government has

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spring 2016

capped the amount an individual can receive and most self-employed claimants will need to earn £5824 to qualify. Equity is opposed to these cuts because disabled people are under represented on stage and screen and these measures put up further barriers to disabled talent. Find out more about Access to Work on our website: www.equity.org.uk/accesstowork

www.equity.org.uk

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Commercial theatRe

Dramatic change in

Commercial theatre Power of the union means a positive change for performers and stage management in the new Commercial Theatre Agreement that runs until April 2019 Illustration Tim Bradford

A

ctors and stage management working in commercial theatre outside London are to get a pay rise of up to 13 per cent thanks to negotiations concluded by Equity.

The new agreement, which comes into force immediately and is backdated to 1 April 2015, will see minimum fees rise from the current levels of £410 a week for rehearsals and £431 for performances to £420 for rehearsals and £450 a week for performances for shows in the largest theatres of 1,500 seats or more and £415 for rehearsals and £440 for performances in venues of between 500 and 1,499.

As part of a new, four-tier payment structure, productions in theatres of 500 seats or fewer are included in the agreement for the first time and will also see increased rates.

This is the first Equity agreement outside of London to have tiered minimum rates relating to the size of the theatre and follows the introduction of tiered rates in the West End in 2008. The new rates have been agreed by Equity and UK Theatre

Membership makes it The union can celebrate the conclusion of a great deal with successes such as providing proper terms for actor-musicians; standard forms to make buy-outs more accountable; regulations around call times in performance; and improvements in differentials between eight and twelve show weeks. This has been achieved because of the high numbers of members in this sector. For more, contact organiser Paul Fleming on pfleming@equity.org.uk

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and mean that performers working in the biggest venues will see a 13% rise to their minimum rates of pay by 2018/19.

The agreement, which runs until April 2019, also sees an increase in allowances for living away from home and the introduction for the first time of contract terms specifically for actor-musicians.

The new agreement introduced four tiers of theatre: A* venues with 1,500 seats or more A venues with 500 to 1,499 seats B venues with 250 to 499 seats C venues with up to 249 seats Seating capacities refer to the number of seats on sale for the production, rather than the venue’s maximum seating capacity.

For a production which plays at more than one venue or on tour, the applicable tier will be that which the majority of the performing weeks are at, with 60 per cent being the threshold of number of weeks which a production has to play in tier A* venues for that to be the applicable minima.

Subsistence allowance will rise each year over the four-year life of the agreement from £120 a week to £150, and touring allowance will also rise annually from £225 to £250. The key new clauses for actormusicians cover rehearsal pay minimum; performance pay minimum for up to two and for three or more instruments; and understudying provisions.

Other changes across the agreement are: standard forms to make buy-outs more accountable; regulations around call times in performance; improvements in differentials between eight and twelve show weeks; updated rules around auditions and more. Significantly, there is no worsening of any of the terms in spite of efforts by UK Theatre.

This successful deal has only been achieved because of the high numbers of members in this sector”

Member offers

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

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

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

dance studios £60 off Pineapple Studios Annual Membership.

Equity members get £60 off annual membership to Pineapple Dance Studios in Covent Garden, London (usually costs £160).

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

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

More cities will come on-stream as Q-Park rolls out its development programme, so if the city you want is not yet listed, do please check regularly.

The rates represent a 15% discount across the day with a special flat rate of £6.00 for London parking from 6pm to 2am.

To take advantage of the Equity discount you need to pre-book your parking.

Please follow this link to do this: www.equity.org.uk/parking

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

Special offer

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

Minimum fee applies to house visits.

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

michael barnes hairdressing Equity members can get 40% off all cutting and colouring on your first visit to the salon and then you will receive 20% off all services whenever you visit after that. Michael Barnes is located ar 224 Shaftesbury Avenue, London WC2. Tel: 020 7836 7152.

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spring 2016

phoenix artist club

Pictureville Bradford, Watershed Bristol, Cinema 3 Canterbury, Chichester Cinema at New Park, Hertford Theatre, Odyssey Pictures St Albans, Rex Berkhamstead, Robert Burns Centre Film Theatre Dumfries, Edinburgh Filmhouse, Hull Screen, Adam Smith Theatre Kirkcaldy, Showroom Sheffield, NFT.

New Management Wanted

Save 50% on annual membership. A private members’ club and licenced bar for professionals in the entertainment industry and their guests, open Mon-Sat 11am-2.30am (last entry 1am) with hot food served until 11pm.

Entertaining entertainers since the nineties, this hidden gem, once visited, is never forgotten.

Annual membership is £120 reduced to £60 on presentation of your paid-up Equity card. Please visit the club during opening hours to apply.

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

rac breakdown cover We’ve teamed up with the RAC to bring you a great deal: a potential 50% off RAC Rescue cover. With your discount, Roadside cover starts at just £29 a year.

And, depending on which level of cover you choose, you could save as much as £99.25.

Join today at rac.co.uk/join/benefits or call 0800 096 6836 quoting EBS001

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

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

stage newspaper

Discounts at the following independent cinemas on production of an Equity card:

supports dancers and

01273 234011, others in the dance

Equity members can have 15 per cent off an annual subscription. This is available to all Equity members on both print and digital editions. To take advantage of this discount go to http://subscriptions.thestage.co.uk and select the version you require. Remember to include the code EQUI in the Promotional Code box to activate the 15 per cent discount.

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

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We can email info@rbbf.org.uk give help where illness or visit our website.

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www.equity.org.uk

photo: mateusz.bral@gmail.com

Spring 2016

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campaigns

Members show support for the BBC in thier workplaces and on the streets across the UK

Love it or Lost it campaign grows as mps are lobbied and street protests engage the public Equity members have come out on the streets to persuade the government not to break up one of Britain’s greatest institutions.

In November, the BBC: Love it or Lose it campaign staged a Doctor Who-themed lunchtime protest at New Broadcasting House in London. Equity members Bertie Carvel and Sophie Aldred spoke at the protest and a statement drafted

by Lord Alli (who is leading a group of parliamentarians campaigning to protect the BBC) was signed by Doctor Who cast members such as Peter Capaldi and Sylvester McCoy. Also that month, members of the Brighton & Sussex general branch held a public event in support of the campaign opposite the Theatre Royal in New Road, Brighton.

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spring 2016

Members distributed more than 750 of Equity’s Love it or Lose it postcards to members of the public.

Further activity includes members in workplaces posing with their #BackTheBBC postcards and promoting it via social media to show their support.

The union’s recent parliamentary event also put the BBC at the heart of its lobbying work because the government will soon be setting out its views on what a future BBC will look like.

The current BBC Royal Charter and BBC Agreement are due to expire in December 2016, and this spring the government will release a white paper detailing its views. The Federation of Entertainment Unions, of which Equity is part, will be releasing an alternative vision. Find out more at: www.equity.org.uk/loveitorloseit

Stop Art Cuts: local theatre is the focus Equity’s campaign successfully convinced government to ease cuts but local venues are vulnerable

Equity is supporting the BACC for the Future campaign to help safeguard creative subjects in schools.

The union is concerned by the Department for Education’s proposals to make the English Baccalaureate (EBacc) all but compulsory in schools as a headline accountability measure (the way that schools are ‘held to account’ by the DfE and Ofsted).

The EBacc proposal means that every pupil taking their GCSEs would have to study a minimum of seven GCSEs: English literature and English language, mathematics, double or triple science, a modern and/ or ancient language, plus history and/or geography.

The current proposals mean that the EBacc will effectively become compulsory, with education secretary Nicky Morgan MP expecting to see “at least 90% of students entering the EBacc”.

The average number of GCSEs taken by pupils in England is 7.7. If these plans become a reality then there will be very little room left for pupils to study creative subjects such as art, music, design or drama.

Equity is concerned that this will mean creative subjects will be squeezed out of English schools altogether and students in England will be denied the social, cultural and intellectual advantages that a creative education can offer.

To get involved with the campaign, visit the website at www.baccforthefuture.com or email Equity’s Young Members’ Committee on ymc@equity.org.uk

www.equity.org.uk

Campaigning by Equity members and other groups has resulted in Arts Council England getting an extra £10 million annually over the next four years as part of the government’s recent spending review.

The 5% cut in spending power is significantly less than had been predicted. This is welcome news and demonstrates that the government agreed with Equity’s arguments about the benefits of arts and culture.

However, the campaign continues as the spending review confirmed cuts of £18 billion in council funding and this will hit local support for the arts.

Many venues survive through the funding provided by local councils and Equity needs to convince councillors not to make arts an easy target for cuts.

Equity’s West and South West London branch is continuing the fight and recently commissioned campaign T-shirts for the branch (pictured above).

Branch Committee member Claude Starling had the T-shirt idea and said: “The arts received broadly good news in the latest spending review, but our focus must now turn to supporting venues who face cuts by their local councils.”

Find out more about the Stop Arts Cuts campaign at www.equity.org.uk/stop-arts-cuts

New Diorama Theatre joins Professionally Made Professionally Paid The New Diorama Theatre has joined the list of fringe theatre venues and companies signed up to Equity’s Professionally Made Professionally Paid (PMPP) campaign.

PMPP is Equity’s campaign to tackle low and no pay in the entertainment industry and union organiser Emmanuel de Lange is delighted that the New Diorama Theatre (NDT) has signed up, he said: “NDT’s commitment to supporting young and emerging theatre talent means they play a vital role in the ecosystem of theatre. The NDT is demonstrating their commitment to using Equity contracts, and the fundamental principle of fair pay

for professional work.”

Further developments for PMPP included The Other Room Theatre in Cardiff extend and renew its Fringe Agreement and welcome Artful Theatre company into the campaign.

For more details on PMPP see www.equity.org.uk/made&paid

spring 2016

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Alamy, Phil Adams

Members rally round the bbc

BACC for the future

campaigns

Frances O’Grady wants members to get involved in a week of action from 8–14 February

Why we need to fight the Trade Union Bill TUC General Secretary Frances O’Grady believes the tu bill will make us all less safe at work

Trade unions have never been more important.

At a time when ministers are threatening huge cuts to the arts and vital cultural institutions such as the BBC we are often the last line of defence.

As well as protecting jobs and services, unions such as Equity ensure that people are treated fairly at work – whether they are starting their career or headlining a major TV series or West End show.

We believe the government’s Trade Union Bill is a deliberate attempt to restrict unions’ ability to represent their members effectively and to silence opposition to cuts.

We believe it threatens the fundamental right to strike as well as imposing huge new red tape on unions.

Ministers have tried to present the Bill as just about increasing turnouts during strike ballots. But their true agenda is to shift the balance of power in the workplace in favour of employers by threatening the right to strike and organise together.

In sectors such as the arts, where workers can be very vulnerable to exploitation, this could drive down employment standards.

This Bill is all about giving employers the whip hand. Lifting the ban on the use of agency workers during strikes will do just this. For the first time since the 1970s, bosses will be able to bus in agency temps to break a strike.

This fundamentally undermines the right to strike. Strikes may be inconvenient for managers – but that’s the point: it’s a last resort for workers when management won’t

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talk and won’t compromise. Making strikes less effective takes away that power.

And it could mean workers without proper training and proper support delivering important services that we all rely on. That’s not sensible – and it’s not safe. And it’s just wrong to put agency temps in the position of crossing a picket line or losing work. If ministers get their way picket supervisors will also soon have to give their name and contact details to the police. And unions will face court injunctions and possible damages if an organiser forgets to wear an armband.

It is small surprise that the Bill has been condemned by human rights groups and likened to something out of Franco’s Spain

by Conservative MP David Davis.

The Bill will also seek to cap the time spent on union activity in public services. This could stop a union representative, for example, supporting a member at a tribunal who has been the victim of harassment, bullying or discrimination. And in a deliberate attack on

union funding, the Bill will also prohibit employers in the public sector from deducting union subs via payroll. The government wants to bring in these changes as quickly and with as little scrutiny as possible. But we must not let them get away with it.

It is essential that we keep up the pressure as the Bill enters the House of Lords. The House of Lords committee and report stages in the coming weeks present the best opportunities to secure amendments to the Trade Union Bill.

We need to keep the Bill in the media focus and to remind people why unions are so important.

What you can do From 8–14 February the TUC will run a special week of activities throughout England and Wales to showcase the amazing work unions do. Equity members are enouraged to get involved in activities such as the Big Workplace Meeting on 9 February and the community day of action on 11 February.

If you want to highlight the great work done by unions contact Kathleen Christie at kchristie@tuc.org.uk and for the latest campaign news see www.heartunions.org

In appreciation

Leon Sinden Isabella Jarrett remembers the “generous and courteous” equity councillor

L

eon Sinden was a much-loved and respected figure within the acting profession and enjoyed a long and illustrious career.

This was particularly the case in his adopted home of Scotland, where he enjoyed a 50-year relationship with Pitlochry Festival Theatre (PFT), joining Kenneth Ireland’s company in 1965 as a frequent member of the ensemble and subsequently as founder and patron of the annual Best Supporting Actor and Actress awards as voted by PFT audiences.

Leon was born in Ditchling, East Sussex, the youngest of three children to Alfred Edward Sinden, the local chemist and his wife Mabel. He showed an interest in theatre from an early age and performed at army camps in and around Brighton during the war while still at school. Like many actors of his generation, Leon learned his trade in repertory theatres the length and breadth of Britain. In 1951 he came to Scotland to join The Wilson Barrett Company, which toured all the main theatres in Scotland and did

seasons in Edinburgh at The Royal Lyceum and the Gateway Theatre. Also in the company were future stars such as Edith McArthur, Tom Fleming and John Cairney as well as the 26 year old Walter Carr, who became his partner until his death in 1998.

Leon was often seen in Scottish television dramas, most memorably in Dr Findlay’s casebook, Scotch on The Rocks, Sutherland’s Law, Taggart and as George Carraddine in STV’s soap, The High Road.

From 1955 he was a regular at Perth and Dundee reps and also appeared alongside Alec Guinness in Terrence Rattigan’s play, Ross, in London’s West End and on Broadway with Leonard Rossiter in David Turners, Semi -detached.

Like his brother Sir Donald, Leon was a committed member of Equity and served as Scottish Councillor during 1976-7 and 1979-82 and as a General list Councillor from 1986-94. John Durnin, artistic director at PFT, said that Leon was cherished by the audiences, staff and the actors at PFT. He was always a true gentleman in the very best

sense of that word: courteous, generous, enthusiastic and supportive of the newer generations of actors. Although very frail, Leon made his last appearance on PFT’s stage presenting the Best Supporting Actor and Actress awards at the end of the 2015 season in October, just two weeks before he died aged 88. The last night of Pitlochry Festival Theatre’s Summer Season will never be quite the same again.

Nicolas Smith

A

ctor Nicolas Smith was committed to working for his fellow performers and was voted onto Equity’s ruling body many times. He was general list Councillor from 1984-94 and again in 2006-09. He also served on the Executive

www.equity.org.uk

Committee during 1984-85 and 1990-94.

He will be remembered by many for playing Mr Rumbold, the harassed manager of the menswear and ladieswear departments of Grace Brothers, in the TV hit Are You Being Served?

However, he had a long and varied career that began in stage musicals. He spent two years with the RSC, appeared regularly on the West End and Broadway and could be seen in everything from classical productions to pantomime.

Nicolas was born in Banstead, Surrey and his stage debut was at the age of seven with a song and dance routine in a wartime revue.

He did national service with the Royal Army Service Corps in Aldershot, then trained at RADA. He graduated in 1957 and then toured schools with the English Children’s Theatre.

His many credits include The

Mousetrap (St Martin’s Theatre, 1974) and The Mikado (Cambridge Theatre, 1982, and Prince of Wales Theatre, 1983).

At the RSC (1988-89), he played the Duke of Exeter in Henry VI and Edward IV (Royal Shakespeare Theatre, Stratford-upon-Avon) and Major Oldfox in The Plain Dealer (Stratford-uponAvon and The Pit, London). More recently, Nicolas took the role of the old gentleman in the first production of the stage musical version of The Railway Children, at Sevenoaks Playhouse (2005).

Fellow actor and Equity Councillor Freddie Pyne remembered him as being “violently opposed” to apartheid in South Africa during discussions on Council. He added: “I worked with him on tour twice.

In JB Priestley’s I Have Been Here Before and in The Return of Sherlock Holmes. I found him to be very easy to work with.

He was always kind and a gentleman.”

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www.equity.org.uk

autumn 2015

/ 29

Letters...

the president writes

I know there is some disquiet about the announced tour of A Midsummer Night’s Dream that the RSC is mounting in this Shakespearean anniversary year. I have been to many meetings, followed social media chats, and am very aware of some unhappiness at the position that the union has taken in relation to this.

The first thing to say is this: the decision to agree to this was taken, not by staff, although staff advice was provided, but by members; specifically by your Officers at the time, including me, and the Council, that’s actors, stage managers, directors, singers and so on. I’ll try and explain why. The reason why we instinctively and rightly oppose the use of amateurs is that they will be employed instead of professionals in order to save money for greedy producers. This is not the case here.

The RSC approached us a couple of years ago with plans for a production of the ‘Dream’ in which the mechanicals, including the major roles of Bottom and Quince, would be played by amateurs. This was, we were told, an artistic decision: the mechanicals, apparently, are Shakespeare’s tribute to the amateur, and having them played by amateurs would enhance this glorious tribute. Equity, quite rightly, never interferes in artistic policy. However, we did object to the proposal and we did so in the knowledge that the union could not demand that only Equity members should be engaged. After a lot of discussion involving both me and the General Secretary meeting with Greg Doran, we agreed to withdraw our objection... why?

Firstly, and I want to be quite open about this, the RSC told us this was a one-off project that would not go ahead without our say-so. If that happened 18 well paid actor, stage management and creative team jobs would be lost; would Equity take the rap for that? Maybe... The RSC argued that the tour using local amateur companies would be a huge boost to the regional theatres and

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spring 2016

audiences where the tour played; I called the head of a major regional theatre and asked if this was right. I was told in no uncertain terms that the RSC was most certainly right, that audiences in some of our regional centres are dwindling and such a show would bring in a new and younger crowd. They were not visiting this director’s theatre, by the way, so this opinion was honest.

We made conditions: first, that the RSC did not engage the amateurs directly, as was the plan. Rather the RSC would co-produce in partnership with identified amateur companies, who would provide the Mechanicals. The amateurs would have to be members of these companies; they could not be anyone off the street, and of course, as the RSC would not be employing them, this dealt with the fear of a precedent being set. Second, as a different amateur company would work with the RSC in each region or nation, regional casting sessions for professionals at both the RSC itself and the professional theatres to where the show toured must be organised, so that the London bias in casting may start to be addressed. This is a huge issue for thousands of our members living beyond the M25. This is happening (see page 11).

And, finally, this exercise is not a money saving punt: all the various companies will be rehearsed separately by RSC professionals.

The fact that we insist that being directed and being unable to substitute themselves means the amateurs are workers and therefore entitled to get at least the National Minimum Wage when working with professionals will mean that it’s at least cost-neutral. We’ll see how it turns out. The company is already rehearsing, two deps have been elected, and members are keen to see if it works.

A difficult decision, democratically arrived at. The co-production model decision was the union’s way of protecting and ring-fencing the professional jobs, within the limits the modern law allows. Let’s see if this decision was the right one.

Finally, I want to say something about Alan Rickman. A proud member throughout his career, he never stood for election but was a tremendous Honorary President of IPAT. We started together in Sheffield in 1975 and were friends ever since. If you have been reading the outpouring of love, affection and admiration in the press and on social media you will know that he was an exemplar of what an actor/director should be. Loyal, committed to the highest standards, mindful of obligations to his fellows, whether stars or beginners or colleagues, he knew that we all have to rely on each other, and must look after each other. That is why Equity was founded, is it not? That is why he was a member.

Malcolm Sinclair

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

We want to hear from you.

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

In Memoriam

I am now of the age when sadly going down the In Memoriam column I come across the names of many wonderful people I have had the great pleasure and privilege of working with and it always leaves me with a heavy heart that, in this world at least, our paths will not cross again.

However, going down the column of your latest issue (Winter 2015), I had tears rolling down my face. Among the names it so saddened me to read were three names that hit especially hard.

George Cole, Roger Rees and Herbert Wise. Three amazingly wonderful people.

I consider myself so very lucky to have had the pleasure and great privilege of meeting, working with and knowing them all. All three of them were not only tremendous artistes but truly, truly wonderful people.

My heart goes out to all the family, friends and loved-ones of all those mentioned in your In Memoriam column.

RIP dear wonderful friends.

Renu Setna

tremendously supportive of Equity campaigns, representing the branch at every march, continuing to work in the industry particularly with Katapult Productions who met through the Kent Branch.

Brian can still be seen with Kevin Bacon in the EE advertising campaign series and Cadbury’s Joyville. His last voice over for The Frogman and The Diva travels with the production.

Marie Kelly Equity Kent General Branch

Handing on the baton I am now in my 93rd year and a proud life member of Equity.

I am less mobile these days and somewhat housebound, nevertheless I am still active in promoting and encouraging the rising generation of young actors through, among other things, sponsoring the Bristol Old Vic Theatre and their annual visit to the Tivoli Theatre in Wimborne.

I would like to encourage others to help when they can those younger actors struggling in the business.

Raymond James

Celebrating Derek Ware I want to share with Equity readers my sadness at the passing of the great fight director Derek Ware.

I first met Derek in 1960. He had recently left RADA and BBC TV were producing Shakespeare’s history plays over 15 fortnightly episodes under the heading An Age of Wings. Twenty actors

were engaged to be in all the episodes.

Derek was engaged to be ‘Play as Cast’, be in all fights and to do stunts as required. His main stunt was in the final episode of Richard III. The Battle of Bosworth was to be fought in a mud tank (peat and water). There was no possibility of a studio rehearsal. During the action Derek was forced to the ground and half submerged in the mud. Not being seen meant that half the cast trod on him and he disappeared completely. He survived!

He started and ran the stunt agency Havoc and was in huge demand in film, TV and theatre. Famously co-ordinating the Mini chase in The Italian Job and the daredevil stunts that Michael Crawford, as the hapless Frank Spencer, did himself for the television sitcom Some Mothers Do ‘Ave ‘Em. He had a huge knowledge of all the great Hollywood fight directors and their work. Derek devised lectures with films of these Hollywood greats and was in demand on cruise ships. He said it was a great way to have a paid holiday!

For several years Derek went to the US. He hired a horse and a General Custer uniform and rode the Custer trail to Little Bighorn. Apparently the Americans thought he was mad but the native Americans loved him.

Although Derek examined drama students in stage combat for many years he was never taught. I asked him to take over from me at The Birmingham School of Speech and Drama (now the Birmingham School of Acting). He did so and later said he found it both exciting and satisfying and had completely reinvented him.

He was extremely successful, much more than he believed. Although essentially a quiet person he had a large personality and a great sense of humour.

He was respected and liked by all that knew him.

John Greenwood

In memoriam With regret it is recorded that since the publication of the last edition of Equity magazine we have learned of the deaths of the following members: Rodney Archer, Peter Baldwin, Ian Bamforth, Michael Baxter, Zouina Benhalla, Petrus Bertschinger, Bowles Bevan, Philip Blaine, Syan Blake, Norma Blezard, David Bowie, Robert Bowman, Bryong Brind, Nina Caie, Patricia V Carr, Eve Carroll, Joan Carroll, Robert Chetwyn, Natalie Cole, Terry Collins, Susan Crawford, Avril Dean, Monica Dell, Terence Denville, Mattiwilda Dobbs, Peter Donaldson, David Drew, Vivienne Duncan, Norman Dunn, John Dunn-Hill, Michael Egan, Andree Evans, Ron Flanagan, David Forder, Kenneth Gilbert, Selena Gilbert, Brian Godfrey, Roger Grainger, Rose Granville, Stephen Hancock, Dorothy Harwood, Michael Hogan, Hazel Adair, Bertie Hope-Davies, Bob Hornery, Saeed Jaffrey, Neville Jason, Bunny Jay, Gordon Jay, Patrick Kavanagh, Janet Kendall, Patricia Kern, Lemmy Kilmister, Redvers Kyle, Roy Law, Bettine Le Beau, Maeve Leslie, Graham Lines, Jean Marlow, Julia Marshall, Alan Mason, Keith Michell, Mick Milford, Warren Mitchell, Al Molinaro, George Moss, Stuart Myers, Iggy Navarro, Maureen O’Hara, Richard Owens, Diana Page, Conrad Phillips, Frances Pidgeon, Kathryn Reid, Roy Riches, Alan Rickman, Maggie Riley, Paul Rodney, Methuen, Marie Rose, Sonia Sandford, Carol Sandy, Leon Sinden, Nicholas Smith, Yolanda Sonnabend, Shirley R. Stelfox,

Brian Withstandley

Bullying booklet

Kent General Branch members were deeply saddened to learn of the passing of committee member Brian Withstandley on 2 December 2015.

Brain was involved with the relatively new general branch since its creation in 2010, becoming a committee member in 2011 until his passing.

In spite of his illness he was

I read about the new bullying information guide in the recent Equity magazine (Winter 2015) and I subsequently downloaded it from the union’s website. I just wanted to thank the members and staff involved in putting this booklet together as I found the information really helpful. This is a difficult topic but it must be discussed.

www.equity.org.uk

Name supplied

P G Stephens, Robin Stewart, Ed Stewart, Al Thorne, June Tobin Anthony Valentine, Gary Webb, Colin Welland, Dolore Whiteman, Brian Withstandley In some cases it may be possible that another member may have used the same or a similar name subsequent to the passing of the above members

Branch update

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

Find your local branch at www.equity.org.uk/branches liverpool general branch Next meeting: 2 March 6.30pm Everyman Theatre Contact: Sheila Jones, equityliverpool@gmail.com

milton keynes general Date of next meeting: TBC Contact: Rachel Dobell on mkanddistrict. equitybranch@gmail.com

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

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

Hooray for Hollywood The US West coast network is a great resource for those working in the US

ne of england general branch Date of next meeting: 1st Tuesday of each month (excl. Aug & Dec) 6:30pm Northern Stage, Barras Bridge, Newcastle NE1 7RH Contact: Sue Reid, reidsuereid@aol.com

north

& east london general

Next meeting: 10.30am Second Saturdayof month at The Park Theatre, Park 90, Finsbury Park Contact: Nicola Hawkins nel.equity@gmail.com

E

quity’s US West Coast Network, based in Los Angeles, started life in 2013.

With the success of UK performers in the American film and television industry, the number of members based in LA has increased and the branch has developed to meet their needs.

The annual garden party is held in the

fall (pictured above) and there are brunch meets throughout the year as well as panel sessions, networking and other industry events.

All members with a registered address in California are added to the network’s mailing list, but members visiting from the UK are encouraged to contact la@equity.org.uk for more

brighton & sussex general

devon & cornwall general

Date of next meeting: TBC Contact: Chris Webb 07973 465154

bristol & west general Date of next meeting: Third Tuesday of month (exc August), 7.30pm. YHA, Bristol BS1 4QA Contact: equity.bristolwestgen@googlemail.com

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

central england general Date of next meeting: Sunday 7 Feb 7.30pm Upstairs at The Wellington Pub, 37 Bennetts Hill, Birmingham, B2 5SN Contact: David Edgar: davidedgar@gmx.co.uk

32 /

spring 2016

Next meeting: Third Sunday of the month at different venues around the two counties.

Contact: Nigel Howells, howellsnj@gmail.com

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

east of scotland general Next meeting: AGM 9 Feb, 7pm, Mezzanine Room, City of Edinburgh Methodist Church, 25 Nicolson Square EH8 9BX. Contact: Catriona Joss, eastofscotlandequity@gmail.com

essex general Date of next meeting: AGM Saturday 6 Feb 10:30, The Link, Trinity Methodist Church, Chelmsford Contact: dee@deemardi.com

information on any events during their stay.

us west coast network

Date of next meeting: Saturday 27 February Contact: Venue and time to be confirmed, for further information email: la@equity.org.uk

gtr manchester & region Next meeting: 16 Feb 7pm at the Central Methodist Hall, Oldham St, Manchester Contact: davidcockayne@hotmail.com

home counties west general Date of next meeting: Tuesday 8 March, 7:30pm, South Hill Park Arts Centre, Bracknell RG12 7PA Contact: Natalie Jenno on branch_ sec_hcw@btinternet.com

Isle of Man General Branch

Next meeting: 23 February, 6pm, The Archibald Knox Inn, Onchan Contact: colyn@colyn.co.uk

kent general Date of next meeting: Sat 5 March, 1:15pm Marlowe Lab, 35 Pound Lane, Canterbury CT1 2BZ Contact: Marie Kelly 07703 207878, kellygreenproductions@hotmail.co.uk

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

oxford general branch Date of next meeting: TBC Contact: oxfordequity@gmail.com

south & se london general Next meeting: 20 February, 11am, Upstairs at the Young Vic Theatre Contact: Paul Valentine equitysselondon@gmail.com

west & sw london general Next meeting: Weds, 24 Feb 7-9.30pm at CAA, 20 Bedford St, WC2E 9HP Contact: secretary. equity.wswlon@gmail.com

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

birmingham variety Date of next meeting: 8pm 27 January The Woodman, New Canal Street, Birmingham, B5 5LG. Contact: john@jhprice.co.uk

blackpool variety

month, 1pm, Blackpool Cricket Club, Stanley Park, FY3 9EQ Contact: Chris Cotton, 07941 550315

coventry & leicester variety Date of next meeting: Meetings cancelled, contact Sheila for more info Contact: Sheila Payne: sheila.rodgers@btinternet.com

east anglia variety Next meeting: TBC Contact: Peachy Mead, peachymead@f2s.com

humberside variety branch Date of next meeting: 7 March at Henry Vernone Court, Pier St. Hull HU1 1UZ Contact: Christie Clifford, equityvbn4@msn.com

manchester & district variety Date of next meeting: AGM, 16 February at 7.30pmMonroes Hotel, 38 London Road, Manchester M1 2PS . Contact: Yvonne Joseph, vonniegerry@btinternet.com

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

ne of england variety Date of meeting: 7.30pm, last Tuesday of

the month, The Alberta Social Club, Jarrow.

Contact Steve McGuire. 01207238258, sirstephen2001us@yahoo.co.uk

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

scottish variety Date of next meeting: AGM 23 February, 7.30pm Blackfriars, 36 Bell Street,Glasgow G1 Contact: Linda Rifkind, l.rifkind@btinternet.com

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

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

thames variety branch Date of next meeting: TBC Contact: Deborah Charnley on debzcharnley@hotmail.com

west of england variety Date of meeting: TBC Contact Mary Lane cllrmlane@equity.org.uk 07900 848003

Wave goodbye, say hello East Midlands Variety Branch paid tribute to their departing Equity organiser Tim Johnson

T

he friendly East Midlands Variety branch have given a fond farewell to their local Equity organiser, Tim Johnson, who has retired from the union following 36 years working for Equity. He has helped many members in the region and throughout the UK in his other roles at the union.

His able replacement, Ian Bayes, was on hand to join east midlands variety in with the celebrations. Ian Date of next meeting: TBC usually Headstocks, previously worked as the Cinderhill/Bagnall Road junction, NG6 8SF Contact: union’s BBC organiser.

Jimmy Willan, jimmywillan@btinternet.com 0115 9725558

Date of next meeting: 1st Tuesday of each

www.equity.org.uk

spring 2016

/ 33

SPECIAL ATTENTION Contact Equity Members are instructed in their own interests to consult the Equity office before accepting engagements with or through any of the names on this list. In most cases, names are included because the individual, company or agency has owed or still owes members money. In other cases, entrants have refused to use our contracts and place the necessary deposits or put money in escrow. In some cases, money will have been secured for members through the courts or through the disputes procedures under our various contracts. These entrants remain so members can check with the Equity office that the correct procedures have been undertaken in respect of engagements offered.

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(Andy Grover), A M Artists (Ann Molloy), And Action Management (Alan Elliott), J Kerry Jacks (The White Lion, Anglo Artists Management/Anglo Swandlicote), HelenJohntrading asKidz Americor Ltd (Michael Van Rindt),Robin Want Fun, Don Jones Organisation(9).

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K Kidz Want Fun (Helen Jon), Phil Telephone contact: To call a member of Equity’s head office staff, Productions (Brian Izzard).

B James Balfour (3), Bruce Benson Knight (Street Leisure Ltd) 020 7379 6000 and at the prompt press the asterix and dial the : Guild house, Upper St Martin’sL Stephen Lane,Leatherland London WC2H & Karie Musson 9EG dial Associates Ltd, Berry London L Tommy Laughton, LabyrinthProductions three figure extension in brackets after the relevant name below.

(Standing OvationsLtd, Theatremaster Associates Ltd (Ceri Berry), Briarcom Email contact: To email a member of Equity’s head office staff, type (KevinBearneaka CefnDeBearne), Tel: 020 Paul 7379 6000 Fax: 020 7379 7001 Email: info@equity.org.uk Web: thewww.equity.org.uk Ltd (Robin Answych), Bridgewood Ltd, Theatre 1st Ltd). initial and the second name, in lower case with no spaces or RochelleLeader (Top Hat International), (Xtabi Entertainments), Buchanans (17). punctuation, followed by @equity.org.uk.

M Minera Productions (Michael TyeLost Vagueness Limited– Roy Gurvitz.

C CADS Management (Terry Smith), Walker), Ian Graham Mulvein (Graham EQUITY OFFICERS:MMalcolm Barritt: Vice President Martin MarshallSinclair: (Crazy HorsesPresident GENERAL SECRETARY’S DEPARTMENT (fax 020 7379 6074) Maurizio Caroldi, Celebrity Marketing Mulvein Holdings Ltd).

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Louise McMullan Policy Development Officer Restaurant), Patrick Mulvaney (Hanover (Sudden Productions and Rough Edges & Assistant to General Secretary (160) D Patrick Duncan (Dealers Agency).

Concert Promotions), Gabriel Bauza Productions) south East office Munar (Ponsa Espectaculos).

E AlanEQUITY Elliott (AndSTAFF Action Management).

O One for the Road (Paddy Wilson and Stephen Spence Assistant General Secretary, Industrial and New Time Entertainment —7379 6000 Will Holmes South East Organiser Telephone: To call a member ofNEquity’s head office dial Ltd 020 andJenkins).

G Geoff Gibbons (Nightfall Andrew Organising (133) Cyprus (Panos Gerou) Entertainments), JoGilbert Associates Equity, UpperBodman).

St Martin’s Lane, WC2H 9EG at the prompt press the asterix and dial the three figure extension in brackets N Northwick Theatre (Graham (JGATheatrical International), Gold LIVE PERFORMANCE (fax 020 7670 0265) O Oliver Barton Entertainments & P PiccadillyProductions (Tommy Iwering). tel: 020 7670 0229 email: southeastengland@equity.org.uk after theLyndsey-Wilson/Lyndsey relevant name below. Productions (Michael Slater, Stan Hilary Hadley Department head, Opera & Dance Organiser (136) Agency(Robert Mike Day Variety Organiser (135) R Stephen Wilson), Peter GrahamAssociates(4), Smith (10).

Email: To email a member of Equity’s head office type the initial and surname in Rayne(Shakespeare Virginia Wilde West End Organiser (139) UK), JohnRedgrave.

Reckless ReidGraham(HeaviesCasting), Andy P Pizzazz Productions-SteveCox,Ponsa scotland AND Northern Ireland office lower case with no spaces followed by @equity.org.uk Paul Fleming London Area Theatre Organiser (138) Grover (AlliedArtists Management).

Entertainment. Richard Temple Espectaculos (Gabriel Bauza Munar).

Beth Doran Organising Assistant (134) Lorne (Richard Temple Ltd) Boswell Scotland and Northern Ireland H Sally HarrisonManagement (5), Panos Gerou (New Time Entertainment Heals Entertainment Rob RECORDED MEDIA (fax 020 7836 5313) Drew McFarlane Equity, 114 Union Street, Glasgow G1 3QQ Ltd —(fax Cyprus) GENERAL(PhilipaSage), SECRETARY’S Dept 020 7379 6074) S Shakespeare UK (Stephen Rayne),Organisers John Barclay Department head and Holloway, MarkHudsonAssociates(6), Sylvia Swann (Khoros Productions Ltd R PaulSecretary Randall (Rainbow tel: 0141 248 2472 email: scotland@equity.org.uk Christine Payne General (155) PACT TV Organiser (146) David Hunter (ADPEntertainments), Fran Sally Davis) (14). Street of Dreams Ltd Entertainments) (11), Warren Rix Ian Bayes BBC TV Organiser (152)

northernireland@equity.org.uk Department head, Policy Development Officer Hurley.Louise McMullan S Secret Circus(TonyAdams), Michael T Terry Finnegan Productions, Laura Messenger Films & Contract Enforcement Organiser (149) J Jukes Entertainment Agency, & Assistant to General Secretary (160) Slater—Oliver Barton Entertainments & Cathy Sweet ITV & Radio Organiser (153) Theatrical Productions Ltd (Peter JGA Theatrical International Tim GaleBriers North TV Commercials Organiser (145) Productions, StanSmith Baldwin) (12), Michael Tye-Walker North West office: Jamie West Organiser Duncan Smith Head of Finance (130) (10), SohoSet (Jo Gilbert Associates).

Emily Paulin Recruitment and Retention Organiser (144) Dance Revue (TonySharman), Street (Minera Productions).

Express Networks, 1 George Leigh Street, Manchester M4 5DL Hamida Ali Equalities & Diversity Organiser (173) L Robert Lang Associates; Robert LeisureLtd (Phil Knight).

W West Midlands Children’s Theatre COMMUNICATIONS & MEMBERS SUPPORT (fax 020 7240 6341) tel: 0161 244 5995 email: northwestengland@equity.org.uk Lyndsey-Wilson (Gold Agency).

T Tangible Media Ltd– Richard Company (Michael Coffman), Sarah Martin Brown Assistant General Secretary (159) M Millennium (Dee Christopholous, Assistant Curson,General Top Hat International Stephen Spence Secretary,– Matt Hood Department head, C&MS (166) Jane Worrell and Ian Worrell (BAF JacquelineWhelan)(7), Ann Molloy(AM Rochelle Leader. Thomas Hopkins Phil Pemberton and Publications Officer (111) Productions). Paddy Wilson and office: Max North East BeckmannCampaigns North East Organiser

Industrial and Organising (133) Louise Grainger Marketing and Training Officer (114) Artists),MonstersAgency(MervynWebb), U Untouched Entertainments – Marc Andrew JenkinsExpress (One for the Road Ltd).

Beckmann Tax & Benefits Officer & Equalities Officer (151) Networks, 1 GeorgeMax Leigh Street, Manchester M4 5DL Roland Mowlam (Celebrity Marketing).

Williams and Janine Wright.

Alan Lean Tax and Welfare Rights Organiser (157) N Nightfall Entertainments(Geoff Gibbons) FILM AND TELEVISION tel: 0161 244 5995 email: mbeckmann@equity.org.uk LIVE PERFORMANCE (faxW 020 7670 0265) Alistair Watts Entertainment, Martin Kenny Legal Claims Referral Officer (125) Wendy House (MarkOrganiserC(136) O Ordinary People Ltd (Sarah Robbie). Department Chancery Lane Films Ltd (Joseph Steve Rice Recruitment Organiser (172) Hilary Hadley head,Productions Opera & Dance Greenhouse), White Lion, Swandlicote Andrew Whiteside Recruitment Organiser 0161 244 5995 Brooks), Communication Interlink Ltd R MalcolmRaeAssociates,MarcoRasala Wales and South West office Mike Day Variety Organiser (135) (Kerry Jacks), Williams Organisation (Actors Inc. Real Creatives), Patrick (Simon McCarthy).

SOUTH EAST OFFICE (William and Karen Simon Curtis Wales & South West Organiser Wilde MichaelVan West End Adkins Organiser (139)Lesley RimmelVirginia (RPManagement), D Philip D Deighton (Spectacular John Ainslie South East Organiser Clarke), Marc Williams and Janine Rindt(aka AngloArtistsManagement/ Equity, Transport House, 1 Cathedral Road, Cardiff CF119EG 9SD Paul Fleming London Area Theatre Organiser (138) Sounds Ltd).

Deene Naz (Summertime Equity, Upper St Martin’s Lane, WC2H Wright – Untouched Entertainments.

Anglo Americor Ltd), Sarah Robbie tel: 020 7670 0229 email: southeastengland@equity.org.uk Pictures) tel: 029 2039 7971 email: wales@equity.org.uk southwestengland@equity.org.uk Emmanuel Independent theatre/Low Pay No Pay Organiser (137) (Ordinary People Ltd).de Lange E Elchris Group THEATRE SCOTLAND AND NORTHERN IRELAND OFFICE S Philipa Sage (Heals Entertainment), H Barrie Hawkins.

A Adrian Monahan (Stage Works Lorne Boswell and Northern Ireland Jonathan Sands (Agency L’Image), Midlands office: Ian Bayes MidlandsScotland Organiser RECORDED MEDIA (faxTheatre 020 7836 5313) Company) Drew McFarlane Organisers L LiberationsProductions(WarrenBader).

Terry Smith (CADS Management), Equity, 114 Union Street, Glasgow G1 3QQ Equity, Upper St Martin’s Lane, WC2H 9EG John Barclay

Department head & PACT TV Organiser (146) B BAF Productions (Sarah Jane M Simon McCarthy (Communication Stephen Stroud (Tobias Management), tel: 0141 248 2472 email: scotland@equity.org.uk and Ian Worell); Peter Baldwin tel: 020 7670 0232 email: midlands@equity.org.uk Interlink Ltd), Alan Macdonald, Claire Hood (8), Tobias TV Worrell Organiser (152) T Peter Talbot Agency northernireland@equity.org.uk (Theatrical Productions Ltd) (12), Mapleton Films Ltd, Mercury Films Management Stroud).

Laura(Stephen Messenger Films Contract Enforcement Organiser (149) Big&Little Productions Ltd, Graham And Video, John Mortimer Video NORTH WEST OFFICE W Mervyn Webb (Monsters Bodman — Northwick Theatre.

EQUITY MAGAZINE EDITORIAL Cathy Sweet BBC & Radio Organiser (153)Jayson Jamie Briers North West Organiser Promotions (15).

Agency),Jacqueline Whelan Alexander BartlettOrganiser (145) Express 1 George Leigh Street, Manchester M4 5DL Phil Pemberton tel: 020 7670 Networks, 0211 email: ppemberton@equity.org.uk Tim Gale TV Commercials P Palm Tree Production (Robbie Moffat) (Millennium), Robert Lyndsey Wilson tel: 0161 244 5995 email: northwestengland@equity.org.uk C Michael Coffman (West Midlands (Lyndsey Wilson) Gold Agency.

R RobbieMoffat(PalmTreeProductionLtd).

Children’s Theatre Company).

NORTH EAST OFFICE X Xtabi Entertainments S SpectacularEQUITY Sounds Ltd (Philip MAGAZINE PRINTING COMMUNICATIONS & MEMBERS SUPPORT (faxLtd 020 D Danny DaviesProductions (13),7240 6341) Nigel Jones North East Organiser (Paul Bridgewood).

D Deighton), Stuart and Littlestone, Graham SallyDavies (KhorosSecretary Productions(159) Ltd) (14).

Jeremy TUInk tel: 07810 825970 jeremy@tuink.co.uk Martin Brown Assistant General Equity, The Workstation, 15 email: Paternoster Row, Sheffield S1 2BX Productions.

Sisterhood TV Ltd tel: 0114 275 9746 email: northeastengland@equity.org.uk F Terry Finnegan Finnegan VARIETY Matt Hood Department head, (Terry C&MS (166) T Talisman Productions Ltd (16), TVE Productions).

Henry Filloux-Bennett, A Shona Adams (Juliet Adams Agency), WALES AND SOUTH OFFICE EQUITY ADVERTISING: Lisa WEST Ottway, Sales Manager, Ottway Phil Pemberton Campaigns andMakin Publications Officer (111) Productions Ltd – RichardMAGAZINE Bednall.

StephenJames (LeNezProductions) TonyAdams trading asSecret Circus, Simon Curtis Wales & South West Organiser Media Solutions tel: 07958Equity, 046 Transport 147 email: Grainger WilliamLouise Adkins(Williams Organisation). Marketing and Training Officer (114) House, 1 lisa@ottwaymediasolutions.com Cathedral Road, Cardiff CF11 9SD Don Jones of Bridie Reid and NOTERights Officer (157) Anne Young tel: 029 2039 7971 email: wales@equity.org.uk Alan Lean TaxPLEASE and Welfare Don Jones Agency or Don Jones no connection with www. southwestengland@equity.org.uk B Kevin BearneCotton aka Cefn De Bearne Tax(1)& Welfare Publication of an advertisement does not imply any form of recommendation.

Management Emma Rights Organiser (151) Actors-Inc.co.uk (Labyrinth Productions), Antony Bishop MIDLANDS OFFICE (10) not Stan Smith of Saatchi & Organisations offering financial services or insurance are regulated by the MartinInKenny Legal Referral OfficerLtd (125) (2) Claims not Arena Touring Theatre or (Entertainment Business).

Tim Johnson Midlands Organiser Saatchi advertising agency ArenaPersonal Management Ltd C Capital VIP Group, Scotty Clark Financial Conduct Authority and problems with such should beCV1 taken Equity, Office 1, Steeple House,services Percy Street, Coventry 3BY (11) not Rainbow Management of Old (3) not James Balfour, an Equity trading as Clark Sutherland Arts & tel: 02476 553612 email: midlands@equity.org.uk up with the appropriate body. Equity cannot accept any liability for the quality of Colywn, North Wales member in good standing Entertainments, Karen Lesley Clarke (12) not Peter Baldwin, an services Equity offered in advertisements. goods or EQUITY MAGAZINE EDITORIAL (fax 020 7836 5976) (4) not Graham Associates of West – Williams Organisation, Steve Cox— member in good standing Phil Pemberton Pizzazz Productions, Crazy Horses Yorkshire tel: 020 7670 0211 email: ppemberton@equity.org.uk (13) not Danny Davies of Pirate Entertainment (Martin Marhall), Richard (5) not Sally Harrison, an Equity Management Curson (Tangible Media Limited). member in good standing EQUITY MAGAZINE PRINTING (14) not Sally Davies, an Equity D Ray Dalton (Excel Entertainments).

Jeremy Littlestone, TUInk, (6) not Mark Hudson, an Equity tel: 020 7729 9425 email: jeremy@tuink.co.uk Michael Durber AKA MickAppleyard member in good standing member in good standing (AppleyardEntertainment) . D4M Limited (15) not John Mortimer, an Equity (7) not Millennium Actors Agency EQUITY MAGAZINE ADVERTISING (Julia Charles) member in good standing Personal Management Nicky Peacock, Sales Manager, Mainline Media E EntertainmentInBusiness(Antony (16) not Talisman Films Limited (8) not Peter Talbot of the tel: 01536 747333 email: nicky.peacock@mainlinemedia.co.uk added: Abby Wilson – SET Theatre Company Pantomime Partnership Ltd. Mark are instructed consult recently Bishop),Members ExcelEntertainment (RayDalton). in their own and not Jason Karl of Talisman Rudeinterests Mechanicalto Theatre Publication of an advertisement does not imply any form of EddieBloom –BloomFestival, Group Television Productions Ltd Stevenson: recommendation.

Turner: Turnstone Casting. Denis Bugle Boy Productions.

Michael Hole the Equity officeElchris before accepting engagements with Company Organisations offering financialJago:19th services or insurance F Fishor Out Of Waterany Restaurant & (17) not Bronia Buchanan of regulated by the Financial Services and General Insurance (9) not Donald Jones, Equity Hospitality Ltd. John Paul James: Lolfa Lounge.are Matthew Hampson: M&MAuthority Associate Productions through of the,Mr names on this list. For thean full list, Mrs Melville.

Standards Council and problems with such services should be taken up Buchanan Associates, London member in good standing, or Limited. Vanessa Beamont: Christopher Beamont.

Maggie Montieth: BITT Film Co Ltd. please visit: www.equity.org.uk/specialattention with the appropriate body. Equity cannot accept any liability for the G Mark Greenhouse (Wendy House

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special attention

How would you like to invest your money in a voiceover demo that actually stands you a chance of getting work?

Professional demoV that $JHQWV expect

Professional and high quality demos

Matt Chopping - WAM Voices

Penny Brown - Voicecall

Unfailingly produce exceptional demos every time

Professional, sharp, well presented quality demos

Vicky Crompton - Talking Heads

Ben Romer Lee – Vocal Point

*UHDW quality reels

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Leigh Matty - The Just Voices Agency

The best produced audio reels we receive

Victoria Braverman -Voicebookers.com

Professional and unique showreels, 2 very important aspects for a top quality demo

Jennifer & Clair - Shining Management Ltd

Learn KRZ WR JHW VWDUWHG RQ RXU day voiceover workshop

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Learn the LQVLGHU secrets to

This KHDGV XS will give you the headstart you need to move your voice career forward.

2 years working with London’s top agents and the best voices in the business.

Everyday we get calls and emails from people who want to know how to get started and they come from all walks of life not just from the acting side. In fact we’ve taught news readers, after dinner speakers, sales reps, teachers, actors, DJs, dentists, presenters, vets, lawyers, painters, bio-chemists and even Brian a Concord pilot (seriously) and have come to understand that just because people WHOO you, you’ve got a good sounding voice doesn’t mean you should drop everything and make a demo.

We know it’s not possible to teach you everything there is to know about voiceovers in a single workshop, but we guarantee that having attended this session you will, with our help, be able to make an educated decision about whether voiceovers are for you.

Our Logo goes on every demo we produce. A badge we’ve earned by not “just turning out� voice demos that have no chance of getting our clients work. That’s why the top London agents choose us to produce their client’s voice demos.

starting a career in this lucrative industry.

A comprehensive, fun and interactive workshop.

Packed with insider information and loads of “tricks and techniques� on how to succeed in today’s industry, this workshop gives you the opportunity to learn the skills and techniques used by working professionals. Small class sizes allow you plenty of time behind the mic and the chance to experience what it’s really like to be in a commercial recording situation while being directed by one of London’s most experienced Voice Producers, JP Orr.

If it is, then we will help you move forward. If it’s not, then we will be honest and tell you that you would be wasting your time pursuing this line of work.

We also know that you can’t get practical KDQGV RQ information in any one book, on the internet or at the end of a telephone. We’ve seen and pretty much heard it all and are willing to share our knowledge with you to help you get started. After all, you only get one chance to get it right.

SUMMER 2013 spring 2016

* Learn the skills to get started * Put those skills into practice. * Record your Showreel. * Learn how to market your voice.

OXU Day Voiceover Workshop: Special Offer Just ÂŁ99.00

Our next workshop dates are now online # theshowreel.com

It’s a serious decision you are about to make. We suggest you at least learn Please also feel free to call one of our 9oicH 7eam if you have any the basics before you spend your hard-earned money on a Voice other questions Showreel you may end up not using.

quality of goods or services offered in advertisements.

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But don’t just take our word for it.

Call them and ask them. Most will send you to us to FXW your reel.

Why? Because they know we offer a proven process for all our clients.

A voiceover plan that works!

Soho Recording Studios, 22-24 Torrington Place, 3VUKVU WC1E 7HZ

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break a leg?

If you’ve had an accident that wasn’t your fault, as an Equity member it pays to use your union’s preferred solicitors, Morrish Solicitors LLP, for your Personal Injury claim.

Not only will you enjoy efficient and friendly service, but unlike other solicitors who may keep up to 40% of your compensation, with us you will get every penny for yourself.

For your FREE Personal Injury Service call 033 33449600 Complete a claim form at equityinjuryclaims.org.uk Or for more Equity member benefits visit morrishsolicitors.com

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