Summer 2016 - Equity Magazine

summer 2016 www.equity.org.uk

Should stage managers take a buy-out deal?

Equity Council reveals its decision on EU vote Celebrating circus skills

Playing the

villain

Timothy watson discusses the role of rob in the archers

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Contents 20

News

04 Council votes on EU 06 Alternative BBC white paper

Success stories 10 12

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Professionally Made & Paid

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Chatter Box! is launched

Cover star

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The Archers’ Timothy Watson

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Features

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• Sets, scenery, props and costumes.

• Portable, technical equipment and instruments.

• Hired in equipment cover.

18 Unconscious bias 20 Stage managers 26 TUC round-up

Campaigns

• Buildings and contents.

24 #BackTheBBC 25 ENO dispute resolved

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front of house

upfront Visas and immigration are key concerns expressed by Equity members

Equity council votes to stay in EU

Current system is fair and changes could see a 500% increase in contributions

TTIP, CETA and other trade agreements was contrary to the aims of Social Europe. The TUC has opposed further attempts by the prime minister to seek to dilute employment rights arising across Europe and has commented that “the overall contribution of EU employment rights to the UK workforce is substantial. We conclude that EU membership continues to deliver wideranging protections to UK workers”.

Visas and immigration are key concerns expressed by Equity members. There has been much speculation but very few certainties about what would happen to the UK’s visas following a vote to leave the EU. There is a risk that UK citizens would have to satisfy more restrictive rules on getting a work permit, setting up a business, studying and bringing family members to join them in other EU member states. Healthcare and insurance policies could also change.

It is likely that following Brexit the UK would reach a trade deal with the EU similar

to those which exist between the EU and Norway, Iceland and Switzerland. In the case of Norway and Iceland, freedom of movement is traded off for free access to the EU market.

The impact of an exit on arts and culture is a bit clearer. EU membership allows the UK to access funds including the Creative Europe programme, which is worth £1.07bn (2014-2020). In 2015, 54 UK projects were supported and the MEDIA programme supported 53 co-productions.

The Creative Europe programme has boosted UK cultural exports by an estimated £39m spent on promoting British films to the rest of Europe. In the creative sector, 46% of UK bids for European funding are accepted, second only to Germany.

Some, however, view the EU as a burden to the cultural sector — for example, State Aid rules mean that UK tax reliefs must be signed off by the European Commission.

Download the Equity report on the EU referendum here: www.equity.org.uk/EUvote

Equity is warning that there may be a negative impact for performers from the government’s decision to abolish Class 2 National Insurance. The union is particularly concerned about the impact on emerging talent who need time to establish their careers.

Equity has filed its official response to the government’s consultation on abolition of Class 2 National Insurance. The response incorporates many of the views provided by members.

The current system of benefits based on NI contributions is widely seen as fair and equitable.

Equity believes that the proposed changes could mean many in the profession having to pay 500% more to preserve their contribution record than under the current system but the lack of detail in the government’s proposals makes it hard to assess what the true impact will be.

For the latest updates on NI, go to www.equity.org.uk/NIupdate

New funds for free training FEU TRAINING OFFERS BUSINESS AND COMMUNICATIONS SKILLS

Play your part for Equity Who should shape the policies of the union over the next two years?

The decision is yours.

During the second week of June, Equity members will receive their ballots through the post and will be asked to decide who serves on the Equity Council and who becomes the union’s President.

You will also be asked to vote on the people best suited to sit on the Appeals Committee, the body that deals with disciplinary matters, and the Standing Orders Committee, which organises the annual Equity Conference.

An innovation for this election will be the possibility of candidates posting a video of their election statement that can be viewed online.

Please take the time to study the election literature and vote for the candidate you think will best represent members’ interests.

Members will have until noon on 6 July to cast their vote.

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Christine Payne General Secretary

Reflecting the diversity of the UK is a major challenge for our industry and, despite our positive work in this area, the union is not excluded from the debate The lack of diversity on stage

Union’s ruling body believes that it is in the best interests of the creative industries to remain in the eu but will not recommend to members how they should vote The Equity Council has voted to support the UK staying in the European Union. A motion before the March Council stated: “Council believes that it is in the professional interests of the union and our members to remain in the EU on the basis of the net benefits of EU membership for the creative industries but will also express how the EU must do more to protect and promote the rights of creative workers and agrees to make this report available to the membership.”

The Council has also decided not to make any recommendation to members about how they vote in the referendum.

Council also expressed concern about the European Commission’s negotiation of international trade agreements, such as TTIP, and the undermining of collective bargaining and social protection in Eurozone countries following the financial crisis. The Trades Union Congress (TUC) is concerned at neo-liberal measures being pushed on countries such as Greece and fears that the EU’s pursuit of

Union concerned about changes to Class 2 NI

www.equity.org.uk

FEU Training has been successful in its bid to gain government funding for the coming year.

It provides freelance creatives with a comprehensive business skills and communications programme to support their career progress.

Lead by Equity in partnership with the MU, the NUJ and the Writers’ Guild, FEU Training provides free, venue-based and online training facilities specifically developed for freelance members, along with a range of information and advice from marketing to financial management – all with the aim of helping freelancers manage their working lives efficiently and profitably while maximising their creative potential.

For more details visit: www.feutraining.org

and screen is a dominant topic in our industry. The BBC has recently released its latest diversity strategy (promising half of its performers will be women by 2020) and the National Theatre’s Rufus Norris has committed to ensuring gender equality in terms of the directors and living writers the venue employs by 2021. There are countless opinion pieces written on the subject, and numerous events hoping to make an impact.

This is not a new area for Equity; our members have campaigned on this issue for many years and one aspect we have repeatedly requested from employers is accurate equalities data. The current research on the diversity of drama on screen, radio and on stage is sparse and employers have been slow to address diversity issues, in part, because of this. We know that only one in three people on screen or stage is female; fewer than one in ten people in a TV drama is from a BAME background and only around one in 100 people on TV is disabled or lesbian or gay.

We need employers to collect accurate data so we can have a true picture of the business. This will make our case stronger in arguing for the changes we believe need to happen if our industry is to reflect the society in which we live. In 2014, Arts Council England (ACE) finally acknowledged the importance of collecting equality data for performers employed on ACE-funded work and for the first time actors are being asked to complete monitoring forms. The leading broadcasters (BBC, ITV, Sky and Channel 4) followed suit and will be launching Project Diamond this year, which will also collect data from actors working in TV. Equity’s Count Me In! campaign aims to encourage you to share your equalities data with employers and reassure you that this is in the best interests of the whole industry.

So, at last the industry seems to be going in the right direction. However, we are not content to simply wait for data when we know that one of the main sources of the problems is the casting process.

Last year, the Equity Council adopted an inclusive casting policy that was created

through some great work by the union’s equalities committees led by the Minority Ethnic Members committee. It has three key demands: greater incidental portrayal, where the artist’s personal characteristics are incidental to the role; greater care and consideration by productions when casting roles where the artist’s personal characteristics are relevant to the role; and all productions to play their part in improving equality practice across the industry. Following a

Is Equity as inclusive as it should be?” call at last year’s Annual Representative Conference to review the issues surrounding the casting process, and using this policy as the bedrock of our casting conversations with employers, we contacted the Personal Managers’ Association, Casting Directors Guild and the Co-operative Personal Management Association. They agreed to work with us on a Casting Working Party to deal with the issues members speak to us about the audition process - before, during and after they take place. We got together in March and had a very productive first meeting discussing a whole range of subjects such as casting breakdowns, self-taping, pencilling, the costs of auditions and recalls, casting outside London, access and musicals as well as diversity. We will meet again in June and the aim is to genuinely change the casting process for the better.

But we also have to look at ourselves. Is Equity as diverse and inclusive as it should be? Is the unions’ democracy representative of its membership? We believe that it is important to monitor ourselves so that we, like the industry, can answer those questions.

Soon you will have you chance to elect your Council for the next two years. You really can make the difference. Please vote.

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front of house

In brief...

Annual Conference Samuel Mensah

The union’s 2015 Annual to the Equity has sent condolences Representative will be family of SamuelConference Nii Odoi Mensah, in London on 17 and 18Ghana May. The former President of the Actors’ deadline forhas motions is noon Guild, who recently died. on Equity 12 March and for amendments has had a twinning arrangement with noon on 17since April.

TheDuring 2016 ARC the Guild 2010. that time will take place in leadership Bristol on 21, and under Sam’s the22 Guild andtripled 23 May. has in size and opened new branches across the country. Sam spoke at Equity’s annual conference in 2010.

BBC deal The union has reached an BBCagreement studios interim with the BBC

Equity has fees responded to artists the BBC Minimum for main are Trust’s consultation by highlighting up by 2.5% and supporting artists our concerns aboutfees thehave negative impact and walk-ons also been removal the in-house guarantee increasedofby 1%.

The agreement could have, not just for television also includes a pre-purchase of production butThe alsodeal radio certain rights. is content effectiveand especially radio 2014. drama. from 1 October

Exhibit BWITS show Scottish

Equity strongly opposes The Scottish National Committee has censorship and is the extremely made supporting Women in concerned that this show campaign a Theatre Scotland (WITS) was forced to research close. The priority.

New inunion’s Scotland has consistent position is that it women revealed the extent to which supports artistic freedom are under-represented in publicly of expression. funded Scottish theatre with only 39% of creative roles and 46% of acting roles going to women.

Pobol y Cwm award Welsh soap opera Pobol y Cwm FIA Brazil has received a special Bafta

Equity will the be calling the honouring show’son 40th International Federation of Actors anniversary. The award was Congress presentedbeing at an held eventinatBrazil Roaththis autumn to support campaigns Lock Studios in Cardiff Bay. across the worldRaybould, to supportdirector repertory Hannah of theatre.

A second motion will support Bafta Cymru, presented the union collective bargaining for rights accolade to actor Gareth Lewis,over digital services.it on behalf of the who accepted cast and crew.

Entertainment unions launch alternative vision for BBC The Federation of Entertainment Unions launched its BBC Alternative White Paper at Parliament in March The FEU white paper has been released in advance of the government’s white paper that will outline its own views on the future of the BBC.

Culture, Media and Sport), Lord Fowler and Hywel Williams MP. Maria Eagle expressed regret over the fact that the BBC had agreed to pay licence fees The Alternative White Paper calls for the BBC to: for over-75s and added: “The people of this Renegotiate its agreement to fund free TV country appreciate the BBC and want to keep it licences for the over-75s, which could mean a doing what it is doing. What it is not, is a state loss of 20 per cent of its budget; broadcaster in the pocket of the government of Be independent of government interference, the day. It is wrong that the BBC should be by extending the charter period to 11 years to used as a political football and its independence take it out of the political cycle; has to be protected by politicians.

Have a governance structure which is not filled “This Alternative White Paper is an important with government appointees and includes voice that should be taken into account when representatives of its staff and licence fee payers; the government produces its white paper.”

Continue to be a universal broadcaster making Download the full text of the white paper from: a full range of popular drama and entertainment www.equity.org.uk/alternative-white-paper programmes; Provide news free of bias and maintain The FEU comprises Equity, the Musicians’ standards of accuracy and integrity in its Union, BECTU, the National Union of Journalists, journalism. the Writers’ Guild of Great Britain, the Speakers at the event in parliament included Professional Footballers’ Association and Unite.

Follow the #BackTheBBC campaign on page 24 Maria Eagle MP (shadow secretary of state for

Online branch USEquity network The online branch launched for Westtrial Coast network in the aEquity’s six-month period on 1 March US is having an event to connect 2016.

Many members have registered withthere fellowhave members livingdiscussions or and been lively working in Los nearby. on subjects suchAngeles as agentorcontracts It will take place on 5inNovember, and unpaid dancers pantos. As the 7.30pm – 10.30pm and the magazine went to press, thevenue branch’s is Timmy Nolan’s bar on Riverside first motion, on the housing crisis, was Drive,voted CA 91602. being on. The Equity Council will receive a report on the trial period at its meeting in September 2016.

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www.equity.org.uk

www.equity.org.uk

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meet the membership

Celebrating circus skills

In 1995 as a black woman working in UK circus I was unique”

Victoria Amedume was studying science before she fell for the circus. Now she wants the wider industry to value the skills of circus performers Photography Phil Adams Interview Phil Pemberton

Q

Did you come from a circus family?

No, absolutely not! I studied pharmacology and I’d always aspired to be a scientist. Then, in my second year at university, I lived across the street from circus performers. They were an all-women’s company called Exponential and I thought they were really cool. I started training with them and just fell in love with circus. I come from quite a traditional African family and my desire to be a circus artist did not really make much sense to my parents.

They were worried about me choosing a life full of instability and risk.

Q

What circus skills have you specialised in?

I chose aerial work because of its physical challenge and artistic practice. The physics of it connected with the scientific part of my nature and it is such a creative form. When I began learning in the UK, the contemporary circus scene was not well supported. So I moved to France because of the high quality training and the fact that contemporary circus was well funded then. I went on to work in the US in a traditional circus company. They were incredibly passionate, but had a different vision to me about the art form.

In trad circus it was all about spectacle and entertainment. I respected their approach but it was not making me happy, so I returned to the UK thinking that the circus was over for me. But I found I could not let it go.

Q

What do you think about shows that combine disciplines such as theatre, circus and dance?

I’m interested in definitions because I think it’s important to understand and respect the different qualities of the art forms. Theatre is different from dance, which is different from circus. However, when it comes to making the work I’m not interested in the definitions and I don’t think

Victoria believes circus remains little understood in the wider industry and she would like this to change

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www.equity.org.uk

audiences are. They are interested in the experience you give them rather than the minute detail of what art forms they’re seeing.

Q

What prompted you to set up your own company, Upswing?

There were two main reasons. Firstly, in 1995 as a black woman working in UK circus I was unique. It’s changing now, thankfully.

Upswing ran a programme called ‘Step Up’ which was specifically aimed at addressing that issue of diversity within circus and I hope we have contributed to it getting better. When I set up the company I wanted to take control of my identity and how it was represented on stage, and the only way that I could do that was by making my own work. Secondly, I wanted the opportunity to push the form and I didn’t think it was fair and appropriate of me to try and do that within other people’s processes, I needed to create my own.

Q

What are your ideas for promoting circus and good working practice?

Circus remains a little understood area of the arts ecology. It has been a niche sector but it’s starting to grow and be present across lots of different productions. However, taking expert advice on it is not currently part of artistic practice.

For example, if you’re a fight director or choreographer there is an intrinsic understanding of your place within a theatre production. There isn’t such a clear understanding of the role of ‘circus consultant’ at the moment and I think there’s some work to be done around best practice in employers engaging with circus artists. Many producers simply don’t understand the basic working conditions that aerial, acrobatic or any special skills practitioners need. I am a member of Equity’s Variety, Circus & Entertainers Committee and I hope we can work to improve the industry for circus performers.

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success stories

Having a business model that ensures that actors are paid is vital to growing the fringe”

Low pay campaign secures sign-ups

Joanna Ward, Newspix/REX/Shutterstock

union’s professionally made professionally paid campaign signs agreements with theatre n16 and London Film School.

Equity’s Professionally Made Professionally Paid campaign has added to its list of supporters by signing up Theatre N16 and the London Film School (LFS).

Jamie Eastlake (pictured), director of Theatre N16, said: “I think it was the necessary progressive step for the theatre.

Having a business model that ensures that actors are paid is vital to growing the fringe in terms of a professional working environment. Our product is the reason people want to come to our theatre and we want to continue supporting artists in various forms. Box office splits, cheap rehearsal space and an Equity agreement ensure that companies, producers, playwrights, actors and everyone else has a positive experience with N16 without financial hardships.”

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Finding spaces that are fit to dance in

Get the guide to parental rights

Meanwhile, Equity‘s new agreement with the LFS guarantees pay for actors performing in graduating-year student films.

This ensures students engage actors using the terms of the Equity Student Film Contract. As well as guaranteeing pay, the contract sets hours of work, seven-day terms of payment, and ensures actors receive a copy of footage for use in their showreels.

Equity’s low & no pay industrial organiser Emmanuel de Lange said: “This agreement is great news for Equity members who want to work on a London Film School student film production. We believe students’ professional development as filmmakers will be enhanced by learning about using Equity contracts at an early stage in their careers.” www.equity.org.uk/made&paid

A new Equity guide on rights for parents can be downloaded from the union’s website. It aims to enable members who work in self-employment and PAYE employment on Equity contracts to understand what rights they have to maternity or parental leave, pay, social security entitlement and childcare.

There are fewer entitlements for people working as selfemployed than those who are employed but if you are working on an Equity contract you get equivalent rights to an employee and you may have additional contractual benefits depending on what production you are working on.

For detailed advice on your contractual rights check your contract with an Equity organiser.

Specific contacts for staff dealing with your work sector or local to where you live can be found in the members’ area of the website here: www.equity.org.uk/contacts You can download the Equity Maternity, Parental and Childcare Rights Guide 2015/2016 here: www.equity.org.uk/parental-rights

culture white paper puts art at heart of everyday union welcomes government’s acknowledgement of the arts’ contribution to the economy, but it lacks detail on diversity

Culture minister Ed Vaizey employment monitoring across the pledged to put arts “at the heart of workforce as a means of collating robust everyday life” and ensure everyone can data that can inform decision-making in a access culture, “no matter what their range of areas including funding, portrayal background”, when he launched The and casting.

Culture White Paper in March. However, While the document rightly puts there was a worrying silence from him on widening access to the arts at its centre, the importance of supporting sustainable there is a missed opportunity with regards to careers in the arts. tackling the challenges faced by workers in Equity welcomes the government’s the sector. There is no acknowledgement of acknowledgement that the arts the prevalence of no pay/low pay in some contributes to economic growth and areas of the arts and the sections on local regeneration and must be made more arts provision and arts in education are silent accessible for under-represented groups. on the two big cuts in those areas, namely However, aside from the expectation that the exclusion of arts subjects from the larger cultural organisations will take on curriculum through the new Ebacc and the apprentices and promote diversity and massive funding cut to local authorities that inclusion in the workplace, there is little will limit their ability to participate in the on how the government will help to white paper’s vision for “greater local address diversity in the creative partnerships… to develop the role of culture workforce. They “will examine the role of in place-making”. networks to make pathways into the As Equity’s work organising in emerging cultural sectors easier for people from fields within the arts, most notably the fringe, black and minority ethnic demonstrates – ensuring that groups and for disabled performers are paid for the people” but urgent action professional work that they do is also required, in our is the best way to build a view, to address the career pathway. We are opportunities available therefore troubled by the white to LGBT people, women paper’s suggestion that and those from “Volunteering is a way for under-represented people of all ages and from all socioeconomic groups. backgrounds and walks of life Equity welcomes the to get involved in cultural ambition to encourage activities and support the work diversity at board level of cultural organisations.”

Culture minister in arts organisations; The White Paper can be Ed Vaizey launched however, the white paper downloaded from: The Culture White should have also stressed www.equity.org.uk/culturePaper in March the importance of white-paper

www.equity.org.uk

One Dance UK and Equity have joined forces to develop the new Fit to Dance Space Charter that aims to provide a standard for dance spaces across the UK. Audition and rehearsal venues that have signed up to be identified as a Fit to Dance Space demonstrate a commitment to environmental conditions that are suitable for dance work. Those who adopt the charter recognise that adhering to certain standards of safety in these spaces is vital for the long-term health and safety of dancers.

Beth Doran from Equity’s live performance department said: “The charter helps both Equity and One Dance UK’s membership understand these minimum requirements better. Wherever you see the Fit to Dance Space logo, you’ll know you are working in a studio which is committed to safe practice in dance.”

Signing up to the Fit to Dance Space Charter is designed to be achievable by dance rehearsal venues large and small. The charter’s purpose is to encourage better practice and to inform dancers, choreographers and producers about where to find dance spaces that meet their health and safety needs.

For more information visit: www.equity.org.uk/ fit-to-dance-space Meanwhile, Equity’s Freelance Dance Network launched Skillshare, a new initiative to engage dancers and choreographers in discussions about their work. Find out about future sessions from Beth Doran on bdoran@equity.org.uk

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success stories Many members, such as Rebecca Root pictured below, share their positve experience of Equity

Grants for actors’ children.

Support for actor-parents.

020 7636 7868 robert@tactactors.org

why It’s good to talk Equity

Phil Adams

chatter Box! is a New interactive platform highlighting the benefits of union membership

Many people join a union because of a conversation with a union official or a colleague who is already a member. Equity members are very good at taking up that conversational challenge wherever they are working, while staff frequently visit workplaces and undertake other outreach activities where there will be a high density of potential members.

This dialogue is very valuable for retaining members and raising awareness about the many areas of support Equity offers, as well as highlighting campaigning activities. But there are always going to be people who miss these conversations.

Chatter Box! is a new approach to engaging directly with the thousands of people who visit www.equity.org.uk daily. It means these visitors will now be able to hear what members think about Equity and why it is important to them.

We asked some of our most active members to get involved and we are grateful to the 35 of them who were available on the filming dates. Each did two short pieces to camera – one on a specific aspect of the union’s work or their experience of union support and the second a personal piece about what Equity means to them. The result is Chatter Box! – the most interactive excursion into the digital world that the union has done to date.

People move, there is music and lights – you can bring an individual box to life by clicking on it and hearing and seeing what

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

The RBBF Call us on

the person has to say. At the end of each film there is a link to where more information can be found. There are three other interactive features – the shuffle button that moves everyone around, the random button that selects a box for you and finally, the mystery box where the person is hidden until you click on the question mark.

Thanks to the very positive response from the members we asked to participate we now have a library of films, so the boxes will change regularly, making it worth popping back to see who is there and what they are saying. Individual films will also be promoted through social media thoughout the year.

View Chatter Box! on our website at: www.equity.org.uk/chatter-box

Website feedback wanted The union aims to relaunch its website in 2017 and wants your feedback on how it currently works for you.

A survey will be popping up on the site in the coming month and it will be really helpful to get members’ feedback on their likes and dislikes. These insights will be genuinely valuable in the creation of a new site. The Equity website won Best Trade Union Website in the TUC awards 2012 and has been one of our major platforms in joining members, delivering advice, jobs and campaigns information, providing a members’ directory and a space for the union’s branches and committees. Take the survey at www.equity.org.uk

supports dancers and

01273 234011, others in the dance

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

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

When the next steps are uncertain, dancers turn to us.

profession.

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

or injury has created financial difficulties. We also offer one off grants to deal with emergencies.

Our retraining bursaries can help with travel or other costs.

Call us on 01273 234011, email info@rbbf.org.uk or visit our website.

rbbf.org.uk The Royal Ballet Benevolent Fund Registered Charity No. 207477

summer 2016

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interview

Acting the

Knave Timothy Watson plays villain de jour Rob Titchener in the explosive domestic abuse storyline on Radio 4’s The Archers.

Here he speaks about exploring a story for two and a half years, dealing with vilification and the importance of radio drama Photography David Cotter

I don’t think Rob appeared to be a villain when he first arrived on the show. However, for the keen listener, and Archers fans are pretty keen listeners, there were clues from the outset about the direction in which he might move. The darker side of his character was there. The villainy came more to the fore when he got together with Helen and that insidious controlling side of his nature became more apparent.

For a long time people would say to me: “I can’t make up my mind about Rob.” That’s because the writing is so good. One day he’s loving, caring, nurturing and the next he turns on a sixpence and is cruel, patronising, belittling and abusive. I’ve met people like Rob whose public school background has done them no favours. He and his father clearly have nothing to say to each other and his relationship with his mother is, well, complicated.

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A friend told me of Philip Pullman’s comment that “Rob Titchener is the best villain currently available” and I was thrilled to hear that. But I am not surprised that the storyline has captured people’s imaginations, particularly because it’s told in real-time.

The standard continuing drama or soap cannot do this – their storylines are usually concertinaed.

However, the story of Helen and Rob has been told out in real-time for two and a half years. It’s that slow burn and the fact that The Archers is in people’s houses six days a week. It’s immensely powerful and allows the scriptwriters to drip-feed the torture.

I have so little in common with Rob, but from an acting point of view that makes it all the more interesting. For example, I am a vegetarian and a supporter of Compassion in World Farming, whereas Rob arrived in The Archers as a businessman

Timothy has nothing in common with the character Rob, but he is enjoying the challenge of playing such a complex man

interview

The story of Rob and Helen has resonated with audiences. A Helen Titchener Rescue fund has raised more than £120k for charity Refuge

Radio drama is a precious resource that should be supported – its positive effect is found in The Archers” farmer running a mega diary and keen to join the local hunt. He is a complex character and that is always rewarding to play. It’s examining the reasons and psychology behind the cruelty that he has meted out to Helen, but also to other people in the village.

I’m hugely proud to be part of The Archers and the production team work enormously hard to make sure they get their research right. Particularly on such a sensitive subject as domestic abuse. Louiza [Louiza Patikas, who plays Helen Archer] and I are part of a much larger team. Real case studies have been worked on. Louiza has been in contact with Women’s Aid and Refuge and a lot of advice has been taken. From my point of view, I’ve studied the psychology of Rob’s type of narcissism and psychopathic character, but I will always come back to the script.

What does it say on the page and what do I have to bring to that? With Rob, I’ve always felt that less is more. It’s often what he doesn’t say. His silences.

There was an episode when his true colours came out when off microphone he’d obviously told Helen to go and get changed because he didn’t like what she was wearing. Then she came downstairs and rather nervously said, “Is this alright?” I made the decision to leave a long pause, which is always difficult on radio to justify, before saying, “It’s fine, darling”. We hopefully achieved a lot with such little dialogue.

It’s not true that I have been hounded off social media because of Rob. That was a story in the papers, but I am not even on social media and while I know the audience vilify the character the vast majority of people understand that I am an actor

www.equity.org.uk

playing a role. Although I did meet somebody in my local pub recently who, when I went to shake his hand, backed away and said, “I know who you are – my wife says I shouldn’t speak to you!”

I think radio drama is an absolutely central part of BBC output. I’ve been performing in it for more than 20 years and I know it’s a medium that actors really enjoy working in. The audience has such a unique connection with drama on radio. The listener’s imagination is a key part of the process. Radio drama is a precious resource that should be supported and its positive effect can be seen in a programme such as The Archers, the longest-running continuing serial drama in any medium anywhere in the world.

Backing the BBC The government will be releasing its white paper on the future of the BBC very soon. In advance of this, Equity has been campaigning to keep the BBC independent and properly funded so it can continue to produce quality radio drama such as The Archers. Timothy and members of The Archers cast are supporting Equity’s #BackTheBBC Love it or Lose campaign.

Find out more on page 24 and visit the campaign website at: www.equity.org.uk/love-it-or-lose-it

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leadership

Do you see

what I see?

Equity’s Council have been exploring the concept of unconscious bias. This is formed in early life and leads to associations between groups of people and behaviour Words Femi Otitoju

If we choose to meet people who do not conform to the stereotypes we are exposed to we begin to break down our old associations and can choose to build new ones

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Ikon Images/REX/Shutterstock

E

quity has begun to do some exciting work with its Council and staff on unconscious bias.

Unconscious bias is the latest, evidence-based approach to addressing inequalities.

Unconscious biases are formed early in life and help us make split-second decisions in a crisis to avoid danger.

Our biases are shaped by the people that raise us, those that educate us and of course are honed by the messages that we receive every day from the media and beyond.

Once we have a bias or implicit association between a group of people and a role or behaviour another bias comes into play: confirmation bias; I think those sort of people behave in a certain way and so that’s what I notice and remember most. For example, I have never seen a black person running a major theatre so I find it difficult to imagine they could successfully do so, or I have never seen a disabled person driving a Formula One car so I find it difficult to think they would be able to manage it.

So, are you biased? No? Are you sure? If you find you are, right now, comparing yourself favourably to sitcom characters of yesteryear you are missing the point. Some of the biggest obstacles to diversity and inclusion generally, and specifically in the performing arts and creative industries today, are the hidden and unconscious biases of good people. If we don’t become conscious of our biases and make an effort to challenge them, our biases will affect the decisions that we

www.equity.org.uk

make in every aspect of our lives, including at work. It may also mean that we are not making the best decisions about who we employ or what we do.

Research has demonstrated that lack of time, pressure to make quick decisions and numerous other factors make us more likely to default to acting on biases.

Organisations committed to tackling unconscious bias ensure that their leaders and staff at all levels are encouraged to engage with the subject and provided with the tools that they need to make reasoned decisions.

Research has shown that when people

Unconscious biases are not fixed, they develop over time and they can change or disappear altogether in the face of the right signals. If we consciously choose to meet, work and socialise with people who do not conform to the stereotypes we are exposed to on a daily basis, we begin to break down our old biased implicit associations and can choose to build new ones, for example becoming conscious of successful disabled people in employment, or older women as lead characters in drama.

Leaders who commit to change, use positive images to reshape the messages that we all receive by showcasing the

I’ve never seen a black person run a major theatre, so it’s difficult to imagine it” are made aware of their implicit associations and are held accountable for their decisions they are less likely to act on their biases. In order to learn more about what biases we have, Project Implicit, the Harvard University-based testing site has developed a series of short online tests which make it possible to increase our awareness of our own biases, see https://implicit.harvard. edu/implicit The tool provides helpful benchmarking data at the individual level, which can also be used across an organisation or company.

Acceptance that we have biases provides the beginning of a strategy for addressing implicit associations.

unusual suspects and holding themselves and others to account for the decisions that they make at work.

Equity is demonstrating its commitment to equality by considering how to mitigate the impact of unconscious bias in all aspects of its work.

It will be exciting over the coming months to look afresh at equality issues within Equity in order to ensure that the union continues to lead by example, both in terms of its membership and the way it works.

Femi Otitoju is the founder and training director of Challenge Consultancy, www.challcon.com

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STAGE MANAGEMENT

DEAL OR NO DEAL?

Stage manager Lisa Mellor discusses the dynamics of working with actors and whether buy-out contracts can offer a good deal

If you decide to sign a buy-out the union will still help and advise you”

Words Phil Pemberton

“I

have never worked anywhere where there’s been a divide between stage managers and the actors or even between any of the departments. The nature of theatre is that it’s a team effort and that is why The Stage article was disappointing,” says Lisa.

She is referring to a recent piece in the industry’s newspaper that posed the question to actors of “How do you ingratiate yourself with Stage Management?” and included some rather ill-judged replies. “The question itself is offensive to both parties,” she continues. “We are professionals.

Everyone has different roles and I have never felt like there was any need to ingratiate myself with anyone or that they should have to ingratiate themselves with me.”

Lisa believes the mutual respect for those different roles combine to make a smooth-running show. “Actors need to be able to command a stage; their role is to get an audience’s attention and deliver a great performance,” she says. “On the first day of my first job, my boss said: ‘The thing about stage management is you will only ever be noticed if you do something wrong’ and that’s mainly true. The better you are at your job, the less you are noticed. We’re the oil in the machine of the show that keeps it motoring.”

Lisa is currently working on Charlie and the Chocolate Factory in the West End but has worked on a whole range of productions after learning her craft at the Stephen Joseph Theatre in Scarborough. She has shared this experience by serving on Equity’s Stage Management Committee, which has recognised the passionate debate about buy-out contracts in this sector. “Buy-outs have been an issue for stage managers for a long time, but they’ve been creeping in more and more,” Lisa explains. “The reality is we usually work far more hours than actors do. We also often work through breaks, so to pay us under the standard agreements can make it harder for a producer to budget. So they want to offer buy-outs, which is not always a bad thing but unfortunately there are some terrible deals being offered.”

The committee decided to create a booklet that offered the best information for stage managers thinking of taking a buy-out. “We felt there needed to be more awareness of what employers are allowed to request in terms of the Equity agreements and the general legal background. There has been a misconception that if people sign a buy-out the union could no longer help them, which is not true.” Lisa understands that many stage managers regard buy-outs

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with suspicion. “They feel like they are a bad thing because you can get exploited by them. It’s thought that producers are going to try to underestimate rather than overestimate what they should be paying you,” she says. “The point we want to make is that if you equip yourself with the correct information you can better break down what you’re being offered. Keep track of what you’re being paid because you can go to your producer, or come to the union, and tell them you are being underpaid.

“I have done it myself,” she continues, “on a contract where I was offered a buy-out and they had massively underestimated the number of hours we were going to be working in a week. They were paying us for 43 hours, but we were working an average of 48 hours. I kept all my time sheets and I did the maths. The employers agreed and corrected it, even though it was mid-contract. It’s not about being difficult, it’s a question of fairness and we need to negotiate with employers on those terms.”

Buy-out advice The stage management guide to buy-outs supplies you with what you will need to ask your employer about buy-outs and provides information that will help you work out if you are being paid correctly.

Remember that Equity will provide free confidential advice and information to members regardless of whether or not you are on an Equity contract. Download the booklet from www.equity.org.uk/buy-out-booklet You can contact the Stage Management Committee directly on email at: stagemanagement@equity.org.uk

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Member offers

Summer

2016

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

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

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

dance studios £60 off Pineapple Studios Annual Membership.

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

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

Minimum fee applies to house visits.

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

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michael barnes hairdressing Equity members 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.

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

Special offer Nick Hern Books is the UK’s specialist theatre publisher providing training and advice books on topics such as auditioning, screen acting, performing Shakespeare, movement and career development.

It also publishes many of the UK’s playwrights such as Jez Butterworth. Get 30% off when you order your books and playscripts via the Nick Hern Books website, just use voucher code EQUITYNHB at www.nickhernbooks.co.uk Free UK postage and packaging when you spend £30 or more.

Masterclasses LONDON

offering a 10% discount off headshots and location shots to members, see www.alywight.com

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

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

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

#TaxMadeSimple 01905 706050 info@theataccounts.co.uk www.theataccounts.co.uk

rac breakdown cover We’ve teamed up with the RAC to bring you a great deal: a potential 50% offRAC 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 call0800 096 6836 quoting EBS001

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

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

stage newspaper Equity members can have 15 per cent off an annual subscription (this will change to 10% from 1 June 2016). This is available to all Equity members on both print and digital editions.

To take advantage of this discount go to http://subscriptions.thestage.co.uk and select the version you require. Remember to include the code EQUI in the Promotional Code box.

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

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Summer 2016

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campaigns

Future of BBC in the balance

Phil Adams, Marcus Clackson

members show support for the corporation as Government prepares to reveal its plans Members across the UK have come out to support the #BackTheBBC Love it or Lose it campaign in advance of the government revealing its plans for the BBC. As this magazine goes to press, culture secretary John Whittingdale was about to uncover the details of the government’s white paper on the Corporation’s future.

These are believed to involve using a portion of the licence fee to fund children’s programming on other commercial networks and imposing a bar on scheduling the most popular BBC shows at prime time. Reports also claim he intends to make the BBC reveal how much it pays its high profile performers.

Equity, as part of the FEU (Federation of Entertainment Unions) launched its Alternative White Paper at an event at parliament in March. It states that the BBC needs to be

supported as a world leading national and international broadcaster and that it should reflect all of the UK’s diversity and provide opportunities for the next generation.

Meanwhile, Lord Puttnam’s inquiry into public service broadcasting concluded that “The government wants a significantly diminished corporation”.

There is already cross party support in opposition to the culture secretary’s plans and, once the full details are available, Equity will seek members help with its response.

Find out the latest news on the #BackTheBBC Love it or Lose it campaign on the union’s website at: www.equity.org.uk/loveitorloseit

Members turn out at BAFTA as BBC director general Lord Hall discusses the role of public broadcasting, above and left.

Below, the cast of Radio 4’s The Archers and BBC One’s Doctors back the Love it or Lose it campaign

Eno Chorus dispute resolved The cHORUS of the english national opera reluctantly agree a reduction in pay in a bid to stabilise the company following a huge reduction in funds from arts council england The dispute between English National Opera management and the ENO Chorus has been resolved without the need for industrial action.

The Chorus, pictured above demonstrating outside Arts Council England offices in March, has reluctantly agreed to a reduction in their guaranteed pay package and some changes to overtime arrangements in order to give ENO management the savings it says it needs. In return, ENO management has undertaken to work with the Chorus and Equity to maximise opportunities for additional work during the summer when no opera is being produced at the Coliseum. This extra work will both provide additional income for Chorus members and make ENO more accessible to audiences through out-reach work outside of London. Following a period of campaigning Equity has negotiated a guaranteed pay package of £35,000. This includes basic pay plus holiday pay, pension contribution and an enhanced vocal maintenance allowance. ENO management’s initial proposal was to reduce their pay package from £40,900 to £30,685. The new pay rates will take effect in August 2017.

Equity General Secretary Christine Payne commented: “I am relieved that this dispute has been settled without the Chorus being

forced into industrial action. In the harsh financial realities ENO finds itself, as a result of cuts from Arts Council England, the Chorus has had no choice but to agree to reductions in their guaranteed pay. We hope that this will mean that ENO management stabilises the company and returns it to all-year-round opera production in the near future. I pay tribute to the dignity with which Chorus members have conducted themselves through this very difficult time. They are an astonishing group of people.”

She continued: “ENO remains a cornerstone of the UK’s artistic life and the Chorus is key to that.

Their recent nominations for both a UK and an international award testify to this. ENO management must now work hard on making this wonderful Chorus more available to UK audiences, wherever they may live, by finding additional work in the summer season in preparation for when the company goes back to full-time opera production.”

Cressida Pollock, chief executive of ENO, said: “I am delighted that we have been able to reach a deal with Equity. We recognise the fundamental importance of the ENO Chorus in delivering world-class opera… this settlement will contribute to the wider changes in our business model to ensure that ENO becomes a more financially resilient organisation able to move forward on a reduced public subsidy.”

I pay tribute to the dignity with which Chorus members have conducted themselves through this very difficult time.

They’re an astonishing group”

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Jess Hurd/reportdigital.co.uk

TUC round-up

black workers’ Conference

Members secured backing for issues such as diversity in casting, the inclusion of creative subjects in schools, protecting the BBC and the current housing crisis

Equity delegates were Nana St. Bartholomew-Brown from the union’s Minority Ethnic Members Committee, pictured far left, Councillor PeggyAnn Fraser, left, and equalities officer Hamida Ali

Trade unionists support Equity’s agenda E

quity is affiliated to the Trades Union Congress (TUC), a UK organisation that represents 5.8 million workers in 52 unions. Equity sends representatives to a number of conferences the TUC hosts each year where pressing issues facing workers are discussed. Motions are put forward by delegates in the aim of getting the backing of their fellow trade unionists.

At the Women’s TUC Conference in

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March this year, the union put forward two motions on the BBC and housing, Equity’s delegates seconded three motions on atypical workers, equal pay and violence against women, plus they supported a UCATT motion on bullying and harassment.

Rosie Hilal, from Equity’s Women’s Committee, put forward the motion defending the BBC and said: “Women watch more TV than men.

We are interested, active members of the

society we live in, and we want an independent and strong BBC that can entertain, inform and represent us… more women of all ages need to be seen on screen, as we are more than half the world population. Yet the prospect of regressive cuts and privatisation resulting in the inability to influence what we see on our screens will mean the opposite. More sexist trash and less equality are likely to be the outcome.”

The motion was passed

overwhelmingly with some criticism of the bias of the BBC’s news reporting.

At the TUC Black Workers Conference in April, Equity delegates proposed a motion on inclusive casting, which was seconded by BECTU and carried unanimously. The motion said: “Equity is actively campaigning for greater inclusive casting – in particular for more incidental casting – where an actor’s talent and not their ethnic background drives their presence on stage or screen.

“Nothing about this topic is

Womens’ Conference The Equity delegation consisted of, from left to right, equalities officer Hamida Ali, the Women’s Committee members Norma Dixit, Rosie Hilal and Councillor Jean Rogers

new. Equity first coined the term ‘integrated casting’ in 1967 and in that time only the language has changed.

We’re told change won’t happen overnight but 50 years on and we haven’t seen enough progress. We need artistic leaders to do more, talk less, reflect the audiences they serve and make different decisions about who they cast.”

Also taking place in April was the TUC Young Workers’ Conference.

Equity delegate Paul Valentine, who was a first-time delegate at a TUC event, moved the union’s motion asking the TUC and its affiliate unions to support the inclusion of creative subjects in schools by signing up to young members’ Conference the Bacc For The Future Equity was represented by, from left to right, student coordinator Charlotte campaign. Paul’s Bence, Paul Valentine, vice chair of the Young Members Committee and arguments about access Councillor Nicola Hawkins to culture and the arts

not being simply the preserve of the rich, and the rights of children and young people to a well-rounded curriculum went down very well in the conference hall. Consequently the motion was unanimously supported.

Equity Councillor Nicola Hawkins seconded the Musicians’ Union motion on defending the BBC and this motion was also carried.

As part of this TUC Conference Equity’s Charlotte Bence delivered a workshop on organising atypical workers. She spoke about Equity’s use of social media as an organising tool, having a branch structure that isn’t tied to a particular workplace but is instead geographical, plus how the Professionally Made, Professionally Paid campaign has both improved the terms and conditions of workers on the fringe and engaged young, emerging professionals with the union.

TUC conferences focusing on the concerns of LGBT and deaf and disabled workers will take place later this year.

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In appreciation

David Ayliff A stalwart of equity and the stage management association, David ayliff worked across the whole spectrum of the industry and then went on to teach stage management at rada

T

he former Equity Stage Management Councillor (1965-1976) and Honorary Life President and co-founding member of the Stage Management Association, David Ayliff, has passed away after a short illness. David celebrated his 99th birthday in April 2015 and sadly was looking forward to celebrating his centenary year this month.

David’s influence on our work and within the profession was immense, leaving a lasting legacy of not only the SMA itself, but which was also felt much more widely in the theatre industry.

He continued to be active in the Association into 2016, and remained producer of the SMA’s Cueline magazine, a role (in which he displayed an impressive command of desktop publishing) fulfilled with commitment and his habitual wise and calm judgement for many years, always embracing change yet respecting and upholding tradition when required.

David began his career as ASM with a touring repertoire company. “In my first week we did three different plays twice nightly”, he recalled, “four performances of each”. He followed this with work for Alick Johnstone Ltd (Scene Painters) until army service in WW2. Returning to civilian life, David also returned to stage management, starting with the Olivier/

Richardson Season at the New Theatre (now The Noel Coward), followed by many years as DSM, SM, CSM, mostly in straight plays, but with musicals and pantomimes interspersed. For the last nine years before his retirement from full-time work in 1984, David taught Stage Management at RADA. Although retired, David was still very actively involved with the SMA, not only providing invaluable help producing the quarterly journal, Cueline, but also organising the archives.

Thanks to David’s work The Victoria and Albert Museum’s theatre collection recently accepted an offer to bequeath valuable records and materials assembled from the Association’s inception to the present day.

David’s leadership, judgement and understanding of stage management and its value to the industry will be hugely missed by the Stage Management Association and by Equity; his legacy will live on in the work of the SMA and the contributions of his students and both our memberships to world-class theatre and events in the UK and worldwide.

With thanks to the SMA for their kind permission in reproducing this memorial. Find out more about David’s inspiring life on the SMA website at www.stagemanagementassociation.co.uk

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Letters...

the president writes

Are we living in a golden age of stage management? Over the past few years I’ve been lucky enough to work in London, Sussex, Yorkshire and Scotland in productions of all shapes and sizes and the stage management teams have been uniformly awesome.

Now, I’ve been around as an actor for a year or two now and the stage managers, deputy stage managers and assistant stage managers have always been good, but in the

at the moment (see page 20). These buy-outs are being abused by cost cutting producers and we, as a union, need to be much sharper in our response to what has been going on.

The open meeting was organised by our Stage Management Committee. Equity’s campaign on buy-outs is also supported by the Stage Management Association, with whom we work closely, and who make sure that we as a union are up to speed.

The relationship between our two organisations is mutually beneficial and this is becoming part of a general trend Campaigns and organisations are being set up, often through social media, to respond to particular problems that our industry faces. Act For Change (AFC) came into being in response to the crippling lack of diversity on our screens, particularly responding to an ITV drama trailer that contained no BAME performers. It now covers and campaigns for diversity of all sorts throughout our industries. I was part of the original set-up and I am now one of their Ambassadors.

Equity has helped them both financially and organisationally.

AFC, in turn, has helped us as some of their leading players are now doing terrific work on our committees. Together we’ve

Equity’s failure in an area of work can cause an organisation such as Stage Directors UK to emerge. I know Dan Ayling and the union’s Directors and Designers Committee are keen to address this situation” past decade the teams have become so imaginative and supportive. Brilliantly taking charge of a show so the actors are able to do what they do best.

I was in a production about D-Day and the prop-making was simply dazzling; I was in a four-hander with one set, run by one amazing DSM; and I’ve just opened in Showboat (book early to avoid disappointment), which is a huge undertaking and the four-person team’s, well, virtuosity is simply staggering.

Equity had an open day last month for stage managers, both members and non members. The Council room was packed and the discussion mainly concerned buy-outs, which are a huge issue for all stage managers

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achieved some progress.

On the other hand it has to be said that Equity’s failure in an area of work can cause an organisation such as Stage Directors UK (SDUK) to emerge.

Many theatre directors have lost confidence in Equity adequately looking after them. I know Dan Ayling and the union’s Directors and Designers Committee are keen to address this situation.

SDUK seems to be producing good stuff, so I’m hoping the two outfits can work together to get the job done.

The most important thing is to improve members’ working lives, and if this means teaming up with others, let’s do it.

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

Robert Nield at 90

I wish to pay tribute to Robert Nield, a proud life member of Equity from the Merseyside Variety Branch.

This genuine and likeable gent celebrated his 90th birthday on 3 April.

Through his involvement within our industry, Robert has worked on radio, television, films and in theatre.

For years he was a dedicated committee member of the branch and, with the assistance of his close friend, continues to attend meetings when possible. His love for the work of Charles Dickens is passionate. Robert is to date word perfect taking off characters such as Uriah Heap and Ebenezer Scrooge.

On behalf of the officers, committee and branch members, I congratulate Robert on his recent milestone and give thanks for his dedication to Equity.

Alan Jacklott

RIP George Shane George Shane, who died recently, was a pillar of the Northern Ireland theatre scene, well known for his association with the Lyric Theatre in Belfast but also for his film and TV work, such as the ‘Billy’ plays with Kenneth Branagh. George was also a stalwart of Equity’s Northern Ireland Committee and when the fledging Northern Ireland Branch was formed he took on the role of treasurer to help it establish itself, develop and grow.

George was always very generous in this work and not only by providing the branch with his time.

Many years ago I had the pleasure and privilege of working with George, a very fine actor, who had trained at the Royal Scottish Academy and amongst other things, worked at the Royal Court with Albert Finney. On one occasion I remember we were both engaged to work on a season of new one act plays by a little Northern Irish company called New Writers Theatre.

A week of performances had been arranged in the Project Arts Centre in Dublin, following the run in Belfast. George and I were sent as the advance party in the truck, with the set, to undertake the get-in, with the

idea that the rest of the company would arrive the next day. We duly completed the get-in and headed off to stay with some of George’s family who lived in Bray, not far from Dublin centre. The next morning when we returned to commence the fit-up, we faced a small problem.

The theatre had been burnt to the ground!

As it was at the height of the Troubles in Northern Ireland there was speculation that the plays from the ‘North’ might have been targeted, so the place was swarming with Guards and even a few journalists.

George took full command of the situation saying “leave the journalists to me son, I’ve had experience in that department, why don’t you deal with the coppers!” And that’s what happened.

There wasn’t much left to put back in the truck and return to Belfast, but it was certainly one of the more dramatic productions I ever worked on, for all the wrong reasons. Years later I met George again at an Equity Annual Representative Conference in London. Older and in less robust health, but still the warm, friendly man I remembered from all those years before.

He will be greatly missed.

Stephen Spence Assistant General Secretary, Equity

Original costumes I am a stage designer (retired now), and have just had a website made showing a backlog of some of my original costume designs – for many Equity members past and present. It would be impossible for me to contact them all personally so I wanted to share the details of my website where they can be viewed. Please have a look at: www.sallyjacobs.co.uk Sally Jacobs

Thank you Equity I am a long service member of Equity and consider it to be outstanding in support of its members. Over the years I have had to enlist the services of the legal team to obtain monies owed to me and every time negotiations have proved successful. More recently I was seriously ill with kidney failure and unable to work. During that time I had three spells in hospital, culminating with surgery. Once again Equity stepped in to offer advice to my wife and some very welcome financial support via the Equity Charitable Trust. A most sincere thank you.

Peter Regelous

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: Ronald Alexander, Ernestine Anderson, Sylvia Anderson, Becs Andrews, Eddie Angel, Eileen Anson, Robin Ardra, Hugh Armstrong, Jenny Arthur, David Ayliff, Valerie Bain, Eileen Barry, Tarn Bassett, Brian Bedford, Joseph Bennett, Leon Bibb, Jo Binch, Margaret Blye, Ann Boon, Richard Bradford, Richard Brodie, Sean Buckley, Tony Burton, David (Charles) Carey, Gareth Cattouse, Judy Collins, Terence Conoley, Ronnie Corbett, Adrienne Corri, Helen Crerar, Cyril Cross, Anne Cullen, Jan Dalibor, Vlasta Dalibor, Paul Daniels, Rita Davies, Petra Davies, Anne Donkin, Patty Duke, Johnny Duncan, Denise Duval, Ian East, Shawn Elliott, Joan Ellis, Colin Evans, Patricia Field, Nina Finburgh, Frank Finlay, Stephen Fissler, Mckenzie Fraser, Riccardo Garrone, William Gaskill, George Gaynes, Giant Haystacks, Gillian Goddard, Olga Grahame, Sandra Jacqueline Granville, Sarian Grevelle, Brent Haddon, Merle Haggard, Julian Hall, Stewart Harwood, Michael Hawkins, Brendan Healy, Thomas Hemsley, Drewe Henley, (1)

not Tony Holland of Liverpool.

(2)

Jean Hilton, Antony Holland (1), Dave Holland, Frankie Holmes, Robert Horton, Ken Howard (2), Elaine Howarth, Nick Huckleberry Beak, Heather Imani, Colin James (3), Robert Jones, George Kennedy, Chris Kirby, Derek Laine, Martin Lawton, Jack Lenoir (4), Tony London, Ettore Manni, Brian Manvell, Nicole Maurey, Chris McCullough, Noelle Middleton, Janet Mitchell, William Needles, Rona NewtonJohn, Hugh Nightingale, Stanley Page, Terry Parker, Julie Paulle, Louise Plowright, Rosemary Pountney, Rainbow The Clown, Ronald Randell, David Richards, Suzanne Richards, Jon Rollason, George Shane, Judith Shergold, Sheila Sim, Maureen Sims, Frank Sinatra Jr, Brigid Somerset, Hugh Steadman Williams, Marion Studholme, David Swift, Gareth Thomas, Daniel Thorndike, Alan Tucker, Violette Verdy, Alan Wallace, Beatty Walters, Arnold Wesker, Bushy Westfallen, Brian Weston, Leonard White, Julia Whyte, Douglas Wilmer, Terry Wogan, Victoria Wood, Terence Woodfield.

not Ken Howard of London. (3) not Colin James of London. (4) not Jack Lenoir of London.

In some cases it may be possible that another member may have used the same or a similar name subsequent to the passing of the above members

Malcolm Sinclair

www.equity.org.uk

SUMMER 2016

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Branch update

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

Find your local branch at www.equity.org.uk/branches milton keynes general Date of next meeting: TBC Contact: 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: 22 June, 7.30pm, Robert Gillow pub Contact: Peter Rylands peter.rylands@btinternet.com

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

Unity in Liverpool

north

Liverpool general branch welcomed Unity Theatre’s director to its latest meeting

& east london general

Next meeting: Sat 11 June Murray Melvin Room at Theatre Royal Stratford East, 10:30am.

Meetings resume at The Park Theatre in July.

Contact: Nicola Hawkins nel.equity@gmail.com

north west london general

E

quity’s friendly Liverpool branch meets at the Everyman theatre in the heart of the city and regularly hosts fascinating speakers.

At its latest meeting in May, Matthew Linley, artistic director of the Unity Theatre, spoke at the branch.

When taking up his role at the Unity last year, he said: “For those of you who

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

bristol & west general Date of next meeting: Third Tuesday of month (exc August), 7.30pm. 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 12 June 5pm The Wellington Pub Birmingham, B2 5SN Contact: David Edgar: davidedgar@gmx.co.uk

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summer 2016

know me you’ll understand when I talk about this being a dream opportunity for me. Independent theatre, supporting new/home grown talent and venues rooted in a strong sense of community have always been key passions of mine – and they sit right at the heart of the Unity’s DNA.” The branch regularly updates

devon & cornwall general Next meeting: Third Sunday of the month at different venues around the two counties.

Contact: Nigel Howells, howellsnj@gmail.com

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

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

essex general Date of next meeting: Saturday 4 June 10:30, The Link, Trinity Methodist Church, Chelmsford Contact: essexequity@deemardi.com

members on the local arts scene in Liverpool and has an active presence on social media, particularly on Twitter.

Find them there on @EquityLiverpool

liverpool general branch

Next meeting: 6 July 6.30pm Everyman Theatre Contact: Sheila Jones, equityliverpool@gmail.com

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

home counties west general Date of next meeting: 24 May, 7:30pm, South Hill Park Arts Centre, Bracknell RG12 7PA Contact: branch_sec_hcw@btinternet.com

Isle of Man General Branch Next meeting: 28 June, 6pm, The Archibald Knox Inn, Onchan Contact: colyn@colyn.co.uk

kent general Date of next meeting: Sat 11 June at 3pm Marlowe Lab, 35 Pound Lane, Canterbury CT1 2BZ Contact: Marie Kelly 07703 207878, kellygreenproductions@hotmail.co.uk

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: Monday 20 June 20th 7pm Oxford Playhouse Contact: secretary. oxfordequity@gmail.com

south & se london general Next meeting: 21 May, 11am, Upstairs at the Young Vic Theatre Contact: Paul Valentine equitysselondon@gmail.com

west & sw london general Next meeting: Weds, 25 May 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: 25 May, 7.30 pm, The Crescent Theatre Birmingham B16 8AE. Contact: alec@alecpowell.co.uk

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

www.equity.org.uk

Conference calling West of England Variety Branch is ready to welcome delegates for Equity’s annual conference in May

B

ranch secretary and Equity Councillor Mary Lane, is excited to welcome fellow members to Bristol as the union’s annual conference visits the city for the first time in its history on 21 May. She is pictured alongside branch members. From left to right is Martin Clayton-Smith, Mary Lane, Xander Black, Billy Wicks and Paul Anderson. Mary says: “I would love more people and new faces to come along to our west of england variety meetings, share problems and come up with ideas for developing Date of meeting: TBC Contact Mary Lane cllrmlane@equity.org.uk 07900 848003 more services for us all.”

coventry & leicester variety Date of next meeting: No meetings until Sept at Broad Street Rugby Football Club Coventry CV3 2AY Contact: Sheila Payne: sheila.rodgers@btinternet.com

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

east midlands variety Date of next meeting: 2nd Tuesday of the month, Headstocks NG6 8SF Contact: jimmywillan@btinternet.com 0115 9725558

humberside variety branch Date of next meeting: 6 June, 7.30pm at Highfield House, Scunthorpe DN15 6NT Contact: Christie Clifford, equityvbn4@msn.com

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

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

south yorkshire variety Next meeting: 9 June, 7.30pm Bridge Inn Greasborough Road, Rotherham Contact: chuffinells@hotmail.com

thames variety branch Date of next meeting: 23 June 2:30pm Guild House, St Martins Lane, WC2 Contact: Nick Putz 020 8808 3802 nickputz@gmail.com

summer 2016

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Contact Equity

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

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

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

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

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

Assistant General Secretary, Industrial and Organising (133)

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

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

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

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

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

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

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

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

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

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summer 2016

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

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

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