Decision time: help us put arts and entertainment on the election agenda David Morrissey supports our Professionally Made Professionally Paid campaign Samuel West on why we don’t need to choose between the NHS and the arts
REBECCA ROOT on TRANS people MAKing IT TO THE MAINSTREAM
summer 2015 www.equity.org.uk
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04 Election questions 06 Equity and the RSC
Success stories 10 11
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24 Rebecca Root on primetime
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General Election views
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Features
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20 PMPP pledge 21 Act for Change
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08 Meet the membership 30 Letters 32 Branch update
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Audiobooks conference
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front of house
upfront
arts on the election agenda we want your help in asking six key questions that will demonstrate who really backs our industry In the run up to the general election on 7 May, Equity wants its members to ask candidates six questions about our industry. These are included on a postcard with this magazine and will be available at arts-related election events in the coming weeks. The questions include: ‘What will you do to ensure that the licence fee is protected and the BBC is properly funded into the future?’ If the union is to be successful in influencing the next government, Equity needs your help to challenge politicians and push the issue of arts and culture as high as possible up the election agenda. Equity President Malcolm Sinclair
Audiobook readers alert Following a change to the Public Lending Right (PLR) scheme, the payment to authors of books when their work is on loan will now be extended to loans of audiobooks. It is important that audiobook readers are registered with the PLR by 30 June 2015 for inclusion in the February 2016 PLR payment round. Audiobook authors, narrators and producers all qualify for payment. The PLR in each audiobook will be divided as follows: 60% share for the author, 20% for the narrator and 20% for the producer. Full instructions on how to register for PLR are on their website www.plr.uk.com
(pictured) believes that politicians recognise that there are votes to win from the arts community. He said: “In the Scottish Referendum debate, culture played a huge part. The Referendum was perhaps lost because of the economic argument, but, for the young particularly, the idea of a Scottish identity and culture were crucial. People want to be inspired to put a cross in the ballot paper – and the creative industries inspire.” Find out where the political parties stand on arts and entertainment – page 14 Why we don’t need to choose between the NHS and the arts – page 8
Equity’s first-ever industry-wide audiobooks conference took place in February, see page 10
The Scottish Referendum showed that ideas of identity and culture were crucial. People want to be inspired to vote and the arts inspire”
New network for comedians Comedian members of the union have joined together to form a network to campaign for better conditions in the comedy sector. The network will be officially launched on Friday, 12 June at Equity’s HQ in Guildhouse, Covent Garden. Members of the group have created a manifesto with five clear points, these are: Fair pay for all Safe working conditions Protection from harassment and discrimination Fair treatment in the workplace A standard contract for comedians If you require further information about the network or the launch event in June please contact Mike Day by telephone on 020 7670 0235 or email mday@equity.org.uk
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Union expels Craig Joseph Member’s lie in court resulted in £600,000 cost to equity A member of Equity, Craig Joseph, has been expelled from the union following a High Court judges’ finding that he had lied to the court during a case supported by the union. This resulted in a costs liability for Equity of more than £600,000. In 2007 and again in 2008 a booking agent, Jason Spiller, posted a libellous statement on the agency’s website about the Gillettes, a Motown tribute band of which Craig Joseph was a member. Equity agreed to support legal proceedings by the Gillettes after Craig Joseph claimed that as a result of the 2008 libel the Gillettes had lost a booking. The court found that there was
no such booking. Information undermining the evidence for the booking was revealed just days before the trial was due to take place. On counsel’s advice Equity agreed to continue supporting the case, which was won, but, as a result of what the judge described as a “massive attempt to deceive the court” by Craig Joseph, the Gillettes got just one penny in damages and were ordered to pay 75% of the agent’s costs later settled for £639,045. Equity was obliged to meet this liability. The expulsion from Equity, which took immediate effect following the February Council meeting, is the first in living memory.
www.equity.org.uk
Holiday pay on TV shows Equity has been dealing with a problem of unpaid holiday pay on a few TV productions made under the Pact Equity Agreement. This came about due to confusion among some producers on how holiday pay should be administered. Equity contacted Pact (Producers Alliance for Cinema and Television) and the production companies were contacted directly. We were given a firm commitment from those companies at fault that they would adhere to the provisions under the agreement. All production companies and agents have now been given clear guidance reminding them how holiday pay operates under the Agreement. However, Equity is still doing everything possible to ensure that members who are owed their outstanding holiday pay are paid. These negotiations are continuing. For further clarification on holiday pay and if you would like to receive the full guidance, please contact Equity’s Recorded Media department on 020 7670 0254.
Christine Payne General Secretary
The recent audiobooks conference demonstrated the value of communicating with all aspects of our industry. We are a union that builds relationships Equity recently lost a committed trade unionist, a great supporter of her fellow members and a good friend to many, including me. Sheila Collings (see In Appreciation, page 22) served on Equity’s Council for ten years and was a tireless secretary to the Save London’s Theatres campaign. In 2008 she was awarded Honorary Life Membership, the highest honour in our union. She was a gifted actress and a naturally kind person. An amazing woman who once spent an afternoon sharing stories of her life with me. Sheila understood why Equity is important, why we represent professional people from all areas of the entertainment industry and why we support each other. As an activist with very strong convictions she also understood that we don’t always agree. Disagreements are fine, that’s how the best decisions are made, but the strength of community within the union is paramount. And the union is its members. The staff work with members to organise, advise and guide and are equally committed to the community of the union, but it is the members who decide what we should fight for. Included with this magazine – and available on the Equity website – are nomination papers for the union’s industrial, specialist, equality and national committees. These are powerful groups of members that provide vital insights and knowledge of your working life that have – along with the elected Council – the power to make decisions that will affect the direction of the union. This is your opportunity to do what Sheila did and get involved and make a difference on behalf of your fellow members. These committees are the way the experience of working members are represented at the heart of the union’s democratic structure. For example, members of Equity’s Audio specialist committee put forward the idea of an Audiobooks conference, which I was honoured to open in February (see page
10). It was a great success. It was attended by more than 150 people from across the industry, including audiobook readers, producers, publishers, authors and literary agents. The devastating collapse of AudioGo at the end of 2013 is proof of how precarious things can be in parts of our business. Many of our members were owed money for the work they had done for AudioGo and without the assistance from their union – and in particular Cathy Sweet the official responsible for this area of work – they would not have received the fees due to them. An important aspect of the conference was to open up channels of communication between all parties in the audiobook industry. Equity is a trade union that builds relationships. We have constructive relationships with all the major employers in the industries where our members work and good communication is really important. One of the ways we now connect with each other is through social media. Equity has had a huge success with Twitter. We currently have more than 39,000 followers and have been ranked in the top five most influential unions for social media in the past two years. This is a fantastic achievement considering the greater size and marketing spend of many of our sister unions. I read with great interest the tweets from members on campaigns, conferences, events, and committee and branch meetings. The TUC Young Workers pub crawl was especially interesting! The tweet that really made me smile was sent on 23 February from the Brighton and Sussex branch, which read: “Hello! This is our first tweet. Follow us to keep up to date with all things Brighton & Sussex.” Finally, I am sure we would all want to congratulate Rebecca Root for her ground-breaking role in a BBC 2 sitcom about a trans woman. She speaks so movingly about the portrayal of trans people on page 24 and we are very proud that she is a member of the Equity community.
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front of house
In brief... Annual Conference Committee elections
The union’s 2015 Nomination formsAnnual for the Equity Representative Conference will bewith Committee elections are included in London on 17 and 18 May. The this magazine. The closing date for deadline for motions nominations is Friday,is8noon May.on For more 12 March and for amendments details contact mbrown@equity.org.uk noon on 17 April. Themay 2016not ARC Please note members use will take place inresources, Bristol onfor 21,example 22 Equity material and 23envelopes May. paper, or stamps, to support any candidate or group of candidates in Equity elections. Using Equity membership data for election The union hasisreached an campaigning also prohibited as interim theData BBC it wouldagreement be a breachwith of the Minimum fees Protection Act. for main artists are up by 2.5% and supporting artists and walk-ons fees have also been increased by 1%. The agreement The union hasa apre-purchase new joining of also includes criteria, whichThe is one jobison an certain rights. deal effective Equity contract 2014. or evidence of from 1 October earnings in excess of £500 from the industry in an area of work covered by Equity. If you are aged Equity strongly 16 or under youropposes earnings must be censorship is extremely in excess of and £250. Full details on concerned that this show www.equity.org.uk was forced to close. The union’s consistent position is that it supports artistic freedom If are a Walk-On Artist and of you expression. your agency folds, it is worth contacting the relevant broadcaster for productions you Welshworked soap opera Cwm have on toPobol see if yyou are has received a specialpayments. Bafta owed any secondary honouring the show’s 40ththe BBC For BBC queries, contact anniversary. award was steria. on 020 7326The 9760 or email presented at an event at Roath bbccontributorpayments@steria. Lock Studios Cardiffemail Bay. ITV’s co.uk For ITVinqueries Hannah Raybould, director ofvia Talent Payment department Bafta Cymru, presented the secondarypayments@itv.com accolade to actor Gareth Lewis, If you were booked to work on a who accepted it that on behalf of the drama/comedy was produced castanand crew. by independent production company you should contact the production company.
BBC deal
Joining criteria
Exhibit B show
Walk-On Artists
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amateur actors and the RSC union comes to an agreement on midsummer night’s dream show The RSC had the idea of a production than engaging amateurs directly, thus protecting of Midsummer Night’s Dream that would engage the RSC’s status as a flagship professional a full complement of professional actors, stage company. Under an Equity House Agreement and management and creative team but would also following submissions from Equity that amateurs use amateur actors to play the parts of the Rude engaged by their companies in this manner were Mechanicals. The plan was to tour the production likely to be ‘workers’ in a legal sense, the to all 12 regions in the UK and to use local amateur companies would pay any The amateur companies regionally to source the of their members who were RSC made it Rude Mechanical performers. The RSC working with the professionals clear that the wanted to share their skills and the National Minimum Wage production would expertise with the amateur for the work done and Equity not go ahead companies and show how could have access to those unless amateurs were involved professionals work. people for the purposes of As required, the information-sharing and RSC consulted with industrial discussions. Equity over the use The Council agreed of the nonthe final terms for professionals. removing Equity’s Equity argued that objection to the project it was not an as follows: “The Council appropriate venture endorses Equity and that the 18 negotiators finalising a professional actors, co-production plus stage management arrangement with the RSC, and creative team could on the terms outlined in the fulfil the production without report presented, for the 2016 the use of amateurs. The RSC production of a Midsummer Night’s said if the show did not proceed in the Dream. However, the Council wishes to form outlined it would not proceed at all, losing express its disappointment that the RSC sees fit the professional work opportunities altogether. to highlight and encourage the employment of The proposal went to the Equity Council and a amateurs to portray a so-called love affair report was given after improvements were made between the amateur and professional theatre at a to the original proposals by the RSC following time when many trained professionals are finding interventions from Equity officials. It was made reduced opportunities for employment in our clear that the RSC would be engaging the 18 subsidised theatres.” actors on the normal terms of the Equity/RSC All show posters and programmes will note house agreement, in addition to usual this special arrangement that has been developed arrangements for stage management and creative between Equity and the RSC. The professional team, and that the RSC had agreed to enter into casting will include the provision insisted upon by co-production with the amateur companies rather Equity of local castings throughout the country.
The Council has appointed withEquity fellow members living or Popularis actAngeles as the independent working intoLos or nearby. scrutineer the 2015 election of It will takein place on 5 November, the Equity General Secretary. 7.30pm – 10.30pm and the venue Nominations will bar open 27 July is Timmy Nolan’s onon Riverside and close 31 August. The Drive, CAon 91602. election will take place over September and October 2015.
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meet the membership
“The arts are an essential part of civilised society”
Q
Do you agree that the diversity of the population of the UK is not being reflected on our stage and screens? I agree completely. Our job is to hold a mirror up to nature. If we don’t represent BAME people fairly on our screens, we hold up a distorting mirror; we alienate audiences and deny lots of good artists a chance of work. If we don’t employ people with disabilities, we spread a culture of ‘difference’, and deny shared understanding. Ultimately the virus of low pay, or working for nothing, will destroy the profession. Actors should never be asked to work for nothing when other professionals in the production are drawing salaries. We shouldn’t tell people it leads to ‘visibility’ when that usually depends more on background and contacts. In the past, people survived and grew in this profession through occasional jobs at living wages and periods on the dole. Now the jobs don’t pay enough and the dole is almost impossible to get. You can’t base your economic model on those who can afford to live with their parents. Talent is no respecter of postcodes, or how much your parents earn. Unless we keep the widest possible demographic supported and paid fairly, we are building a time bomb into the future of the industry.
Actor and director Samuel West speaks ahead of the election about the need to use your vote and why we do not have to choose between funding the NHS or the arts Photography Mark Passmore
Q
Why is it important to register and use your vote? Because not voting just lets politicians get away with it. If you don’t vote, they will take your silence as agreement. If what they’re doing pisses you off, you have to say so. If you think all politicians are arses, go into the polling booth and write that on your voting slip. If enough people make that statement, politicians will listen. I know it sometimes feels as if you can’t make a difference, but if you don’t vote, you can’t complain when things you disagree with
If you think all politicians are arses, write that on your voting slip” are done in the name of people who do. And people died, and are still dying, for your right to vote. Have some respect for those people. Suppose it were an acting job. Suppose you were playing Emily Wilding Davison, who died when she threw herself in front of the King’s horse in the battle for female suffrage. Or someone shot at Sharpeville as part of the struggle against apartheid.
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Your empathy for the person you’re playing might mean from then on you would use your vote (if not, perhaps you shouldn’t be an actor). Think of the things that we now take for granted on an Equity contract: a decent minimum, time off, overtime, safe workplaces, holiday pay. All of those came about through the union – through organising, and voting. Employers don’t give you those benefits of their own accord.
Q
Do local grassroots arts organisations really add to the success of the entertainment industry? Of course. Go to your local theatre; ask them who had their first job there, who went on to be famous. There’s always someone. The UK arts pyramid may have at its pinnacle a nonsubsidised West End theatre packed with stars that go on to Broadway and Hollywood and make millions for the Treasury in blockbusters. But who is to say where the next star will come from? Every brick in the pyramid is important, and removing one could also remove the encouragement and help it gave a future profitable star. The system works. Damaging it doesn’t make economic or artistic sense.
Q
With the NHS in crisis, should we feel guilty about fighting against cuts to the arts? We have to defend the NHS. It’s the best thing this country’s ever done. But what’s the point of being healthy if there’s nothing to do? Forcing us to choose between the NHS and the arts is called a ‘false dichotomy’, and it’s a favourite of those trying to force through cuts: “You can’t seriously prefer dance classes to hip replacements?” It’s a thieves’ trick, and they know it. Money cut from the arts doesn’t go to the NHS. Local government arts funding accounts for slightly less than 0.5% of their budgets – under half a penny in every pound. We can afford this. Of course town halls are struggling with terrible and punitive cuts, but they must fight to keep the arts an essential part of civilised society, not a nice add-on. Affordable access to them makes citizens healthier, happier, better educated, more empathetic, less fundamendalist… And in the end, the more you spend on dance classes, the less you spend on hip replacements.
Q
Do you think UK culture is less engaged with politics now than when you were growing up? No. I think we’re entering a new phase of political art, where people are realising that, great as social media is, it will never replace the thrill of the live and the experience of communal debate. Since the Greeks, the arts have provided a way for society to examine itself, to ask what sort of society it wants to be, and to learn from its mistakes. We need to keep those debates ubiquitous and affordable. We can’t afford not to.
www.equity.org.uk
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success stories
It’s time to join the Equity pension scheme
The conference took place in February at RADA Studios and included expert panels with experienced readers, producers and publishers. There were also Q&A sessions and an informal drinks session after the event
Automatic Enrolment is being introduced so sign up now for the union’s plan
first Audiobooks conference
Mark Thomas.
unique event brought together all aspects of the industry to discuss changing working practices Equity’s first-ever industry-wide audiobooks conference took place in February and was a huge success. Called ‘Audiobooks: A Dialogue for the Future’ it was attended by more than 150 people including audiobook readers, producers, publishers, authors and literary agents. This is the first time participants at an audiobooks event have represented every aspect of the industry. The objectives of the conference were to create an awareness and understanding of the audiobook process across the industry and how we can work together to achieve the best possible product and maintain standards in a changing industry. Equity General Secretary Christine Payne began the event, saying: “We want this to be an industry that recognises and respects the skills of our members and to professionalise their work even more. So today is about giving us all an opportunity to share and understand better the concerns and stresses, on all sides, so things
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can be improved for all of us.” The conference was made up of two panel sessions with question and answer elements. There were also informal discussions over drinks in the evening. The first panel was called The Pipeline and explored the different steps in the
We want this sector to respects the skills of our members” pipeline of creating an audiobook; how the various roles interact; what is working and what can be improved. The panellists included Laurence Bouvard as the Chair; author Simon Brett; Pandora White from Orion Publishers;
producer Douglas Kean; reader Nicolette McKenzie; Katie Arlett from Audible. The second panel was on The Changing Industry and looked at how things have changed both in the creation of an audiobook and the whole distribution landscape. The panellists included David Thorpe as the Chair; reader Stephen Thorne; producer Nic Jones from Strathmore Publishing; freelance producer Alec Reid; Helen Lloyd from Bee Audio and Laurence Howell from Audible. The feedback was overwhelmingly positive, with all parties finding it a thought-provoking and useful event. We believe this was a launch pad for future links between all in the industry and the creation of a much needed dialogue. Thanks are extended to the audiobooks working party members Sean Barrett, Laurence Bouvard, David John, Sheila Mitchell, David Thorpe and Liza Ross for their hard work. The event was the idea of the working party and the result of a motion from the Audio Committee at the union’s 2014 Annual Conference.
www.equity.org.uk
Automatic Enrolment (AE) is a government initiative to help more people save for later life through pension schemes offered by those they work for. In the past you may have missed out on valuable pension benefits because a pension was not offered or you did not apply to join an existing scheme. The introduction of AE changes this in a number of ways: > It makes it compulsory for employers to offer eligible workers a workplace pension > The employer must auto-enrol every eligible worker into the scheme > The employer must make a minimum contribution to the scheme > You will receive tax relief on your contributions - but you’re free to leave the scheme at any time > The earlier you start saving into a pension, the better it is > Employer contributions and tax relief make pensions an attractive option for saving for your retirement AE is a good initiative; however, in the performing arts sector you do not usually have just one employer, so in time, you could end up with multiple pension schemes. You could avoid this by joining the Equity Pension Scheme (EPS). If you are engaged under an Equity Agreement then your employer will in most cases pay into the EPS. That means you have one pension rather than many and normally the contributions offered under the agreement are better than those currently offered under AE. Being an EPS member also entitles you to seek assistance and guidance from First Act, the scheme’s designers. First Act have produced an online booklet to ease you through the maze of AE and this can be found on our website: www.equity.org. uk/pensionupdate Alternatively, you can contact First Act direct on 020 8686 5050 or email eps@firstact.co.uk
Dance network attracts new members to the union
The network is releasing a rate card for dancers and choreographers
the network for the independent and subsidised dance sector deals with workers’ rights and career progression Equity’s Freelance Dance Network launched in October 2014 and has been extremely successful in engaging with dancers and choreographers in the independent and subsidised sector. It has drawn in new activists from across the sector, many of whom had not meaningfully been involved with the union before. A steering group has now been established of around 20 members that meet every few weeks to pool ideas, discuss issues and plan network activities. Issues in the sector are wide-ranging but have mostly revolved around topics of pay, career progression, respect in the workplace, workers’ rights and industry minimum standards. A new Dancers Rate card is soon to be launched, detailing industry minimum rates for dancers in every area where dancers
are covered by our collective agreements. A Choreographer Rate card will also be available soon. Small scale choreographer guidelines are being drafted in order to support emerging choreographers who have received grant funding, but are not yet established enough to use existing union agreements. It is hoped that these guidelines will extend Equity’s involvement in currently under-represented areas. The success of the network has also contributed to the establishment of a Dance Committee, a brand new representative structure of the union that will be in place from July 2015. Pictured above at Pineapple Studios are network members Julie Ann Minaai, Equity Dance Councillor Nicholas Keegan Equity Organiser Beth Doran and Sup Dhanasunthorn. Join the network at: www.equitydance.org
£15.1m for performers in 2014 There was a total of £15.1 million payments collected for distribution in 2014, which is 42% higher than in 2013.
These included: > £3.9 million negotiated by Equity and distributed by BECS for BBC and ITV programmes carried by cable and satellite companies in Belgium, Ireland and the Netherlands in 2012; > £2.3 million negotiated by Equity for Equity-contracted artists whose work has been used on BBC, Channel 4, ITV and Sky new media services, including BBC
iPlayer and other services, ITV Player, 4oD and Sky Go/Anytime+. > £500k negotiated by Equity for archive programmes broadcast on BBC 4 Extra digital radio channel in 2013 (this is an adjustment to the BBC/Equity radio agreement and commission may be payable by some artists to their agents); > £5.2 million in total paid out in 2014 (up to September 2014) made up of film/TV royalties and West End musical cast album payments.
BECS is the collecting society used by Equity, sign up at the website: www.equitycollecting.org.uk
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Charitable Trust helps Sam’s creative ambition
success stories
Breakthrough on bullying at the BBC
Janina Struck
The Equity delegation to the TUC was (right) Equity policy officer Louise McMullan, Norma Dixit, Karina Cornell and Jean Rogers
Womens’ safety on public transport a priority
istock.com
Equity’s delegation to the women’s tuc conference discussed access to work and put questions to harriet harman Karina Cornell put forward Equity’s motion at the TUC Women’s Conference that aimed to give women the confidence to report harassment on public transport. This is an issue for many Equity members, who by the nature of their work often travel at unsocial hours. Part of the motion said: “End Violence Against Women found that 41% of women between the ages of 18-34 have been on the receiving end of sexual harassment in a public place. Unfortunately the majority of these offences will not be taken to the police… we should all work together to counter the view that this everyday sexism is merely ‘light-hearted flirtin’, making public transport a safe zone by ensuring adequate
staffing, to help maintain a zero tolerance approach towards sexist behaviour. “We urge the TUC Women’s Committee to continue to support Action for Rail and initiate a poster campaign to encourage women to report their experiences to British Transport Police and making them aware of a helpline number to enable them to do this confidently.” Jean Rogers was re-elected to the TUC Women’s Committee and also posed a question to shadow culture secretary Harriet Harman concerning how she would make sure government arts funding is used to portray women’s lives as prominently as men’s are, and crucially woman of all ages. Harriet responded by saying: “Older women have been culled from our television screens.”
Are you: • • • •
Equity and its sister unions (BECTU, Musicians’ Union, NUJ, Unite and the Writers’ Guild of Great Britain) have agreed on a Bullying & Harassment Grievance Policy and Guide. The unions met the BBC in January as part of ongoing discussions about bullying and harassment grievance processes. Agreement has now been reached on a number of additional elements to the original proposals, including the involvement of an external expert from the initial grievance through to any subsequent appeal. Both the BBC and the unions welcome these agreed changes, which are designed to improve the way complaints are handled and how staff and freelancers are supported throughout the process. These changes will be implemented as soon as possible allowing time for the detail to be worked through and there will be a trial period of one year from implementation, to be reviewed. The Bullying & Harassment Grievance Policy and Guide, which applies to staff and freelancers, will be amended to incorporate the agreed changes to the formal procedure and will be published in the near future. Equity General Secretary Christine Payne said: “Bullying and harassment is a very serious issue for our members and this is a great step forward in identifying and tackling abusive behaviour. While the union is pleased with the progress at the BBC there is still a lot of work to do on bullying in our industry.”
needs to be checked, Equity’s survey found that members were still being asked for checks incorrectly. To help address the situation, Equity has produced a new factsheet for members which is available to download from: www.equity.org.uk/DBSguidance In the near future there will be a further information sheet produced that is aimed specifically at employers. For further information about DBS contact Mike Day on mday@equity.org.uk
a professional actor? parent of a child under 21? experiencing financial hardship? seeking advice and funding?
TACT helps children who are ill or have special needs, families in financial crisis, or where a parent is unwell or cannot work. Grants are available, for extra-curricular costs, clothing and uniform, school extras, crisis childcare – but not independent school fees. Friendly advice and advocacy. Confidential.
Guidance on Disclosure and Barring The Disclosure and Barring Service (DBS) is the scheme that replaced the Criminal Records Bureau (CRB) check. It aims to prevent unsuitable people from working with vulnerable groups, including children. Equity members such as children’s entertainers and storytellers are often asked to be checked under the DBS and the union recently conducted a survey to see how the new legislation was working for them. While the new scheme is much clearer in defining who
help for actors’ children
For more information and to help this organisation, which has suffered oppression in its own country, please contact Louise McMullan on: lmcmullan@equity.org.uk or 020 7670 0260
www.equity.org.uk
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general election
decision time Equity is not affiliated to a political party but that doesn’t mean we’re not politically active. We lobby on your behalf throughout the year, but it’s particularly important to make our voice heard before an election. Find out here what the parties’ plans are for the arts and how we all can support the entertainment business Illustration Tim Bradford
As we approach the General Election on Thursday 7 May Equity is engaged on a number of fronts to get our members’ voices heard. Politicians are waking up to the fact that the creative industries are important to our economy – worth £77bn or 5% of the UK’s GDP according to the latest figures. The votes of people working in our sector are important too – Equity has more than 40,000 members, many of whom live in marginal constituencies, and across the creative industries employment stands at nearly a quarter of a million, up 14% since 2011. If we are to be successful in influencing the next government we need your support. Find out below how you can get active and help us to challenge politicians to make working life better in the arts and culture. www.equity.org.uk
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Are we a political union? Equity is not affiliated to any political party but this doesn’t mean that we are not politically active. In fact it’s quite the opposite. We regularly meet with and lobby parliamentarians from across the political spectrum and through the Performers Alliance All-Party Parliamentary Group, which we organise alongside the Musicians Union and the Writers Guild of Great Britain, we have close contact with more than 70 MPs and members of the House of Lords who help us give a voice to performers and creative workers in Westminster. We’re also actively involved in influencing the devolved parliaments and assemblies in Scotland, Wales and Northern Ireland. Since the start of this year, for example, we’ve discussed the Transatlantic Trade and Investment Partnership and its impact on our members with Caroline Lucas MP, we’ve lobbied secretary of state for culture Sajid Javid about the representation of black and ethnic minority performers on stage and screen and we’ve briefed Labour’s newly appointed shadow arts minister Chris Bryant on the issues affecting Equity members. But we know that we need to do much more than this to influence the next government. With this in mind, we’ve developed a programme of activities to involve Equity members in lobbying their MPs and parliamentary candidates in the lead up to the election, starting with encouraging our members to:
Register to vote by 20 April! Changes brought in since 2010 mean that almost half of young people are not registered to vote as they can no longer be registered by their parents or universities. If you are over 16 and living in England, Wales or Scotland you can complete your voter registration in three minutes with just your National Insurance number via this link: www.gov.uk/register-to-vote. The link for Northern Ireland is: www.
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We regularly meet with and lobby parliamentarians from across the political spectrum
eoni.org.uk/Register-To-Vote/Registerto-vote-change-address-change-name We also know that Equity members have pretty hectic lives. If you’re likely to be on tour, in rehearsals or will simply be very busy on 7 May it’s worth considering applying for a postal vote via www.gov.uk/government/publications/ apply-for-a-postal-vote for England, Wales and Scotland and www.eoni.org. uk/Vote/Voting-by-post-or-proxy for Northern Ireland.
But what’s the point of voting? Aren’t all the political parties saying the same thing? Views on a range of issues affecting our members – arts funding, employment rights, the future of the BBC, diversity in the media, welfare reform, supporting live entertainment and many other issues differ across the political parties. Full party manifestos aren’t available until the election campaign is in full swing so keep an eye on the Equity website and on facebook and twitter for updates. In the meantime below we’ve summarised what the main political parties at Westminster have been saying so far:
Conservatives In recent speeches culture secretary Sajid Javid has said that with regard to arts funding he will work to ensure that “tax breaks designed to encourage philanthropy are well-publicised and
widely understood.” He has also said that he will “make sure the new tax credits for theatre really deliver for the sector”. The Conservatives have also promised to invest £340 million over three years to support music and cultural education for children all around the country including £84 million to help exceptionally talented young musicians and dancers by paying fees for lowincome families. In terms of diversity and equality in the creative industries, at the Oxford Media Convention earlier this year Ed Vaizey MP, the creative industries minister, noted that “(the) Creative Diversity Network has been put on a permanent footing. But we have only just started.” He also said that the Conservatives would be “looking at introducing a tax credit for documentaries and children’s television”.
Labour Labour’s One Nation Arts Strategy document states that “Labour strongly believes there is a public policy imperative for the government to support the arts. However, in difficult economic times the public needs to know what they are getting for their support.” This document also addresses local funding for the arts and promises that “combined authorities, covering city and county regions, would receive any additional business rates revenues from growing businesses in their area to invest locally, including in the creative industries”. The Labour leader Ed Miliband has said that his party will “ensure a universal entitlement to a creative education for every child” and that “no school can be considered an outstanding school by Ofsted unless and until it offers outstanding artistic opportunities to its pupils.” He has also promised, if elected, to set up a new Prime Minister’s Committee for the Arts, which will seek to integrate arts and culture across government policies. Labour has also committed to keeping the Department for Culture,
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GENERAL ELECTION
will support an increase in the number of outreach programmes offering dance, theatre and other creative opportunities to young people, as well as reduced admission prices to performances. Shadow arts minister Chris Bryant has also said that he believes that Ofcom should monitor on-screen and behind-screen diversity. In terms of pay for performers Labour “will ensure that all DCMS-sponsored bodies pay the Living Wage” and “will end exploitative zero-hours contracts in this sector as in others”.
Liberal Democrats The party’s pre-manifesto, published last year, states that “Liberal Democrats understand arts, culture and sport are essential for personal fulfilment and quality of life – as well as vital for economic growth” and they will seek to “break down elitist barriers that keep some people away from the arts and culture”. The document continues to say that the Liberal Democrats will “protect the independence of the BBC, funded by the licence fee, as the cornerstone of public service broadcasting in this country, and protect the funding and editorial independence of Welsh-language broadcasters.” They will also “support growth in the creative industries, by continuing to support the Creative Industries Council, promoting creative skills, supporting modern and flexible patent, copyright and licensing, and addressing the barriers to finance faced by small creative businesses.”
The Green Party The Green Party’s policy on culture, media and sport says that they will “modify the licensing regulations to ensure that small-scale live performance in pubs, clubs and similar venues is not stifled”, and they will zero-rate live performance for VAT purposes. On arts funding, they will
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We are organising events around the country so members can put questions directly to politicians
“shift responsibility for arts funding, where appropriate, from regional to local levels”. They also believe “there may be a role for commercial sponsorship of any cultural activity. This should not be used to reduce the total state support for the arts, but rather to allow state funding to be redeployed elsewhere.” The Greens also support the role of unions in the media, with a view to developing a formal union representation on governing boards of large media organisations in the UK. In terms of broadcasting, current Green Party policy states that “the primary public service broadcaster will remain the BBC (and S4C in Wales), funded wholly by public money from a tax which may be ring-fenced (hypothecated) for public service broadcast use. The operation of this tax should not be regressive. The existing licence fee will be abolished and in the first instance replaced by a guaranteed inflation-linked payment from general taxation.”
Parties in the Nations The Scottish Nationalist Party’s policies on culture and the arts can be found at www.snp.org/vision/creative-scotland/ culture-and-arts and Plaid Cymru’s vision for culture, heritage and language is available from the website: www.partyof.wales/our-vision-forculture-heritage-and-language In Northern Ireland the Democratic Unionist Party’s policies are outlined here: www.mydup.com/policies/culture and for Sinn Féin’s policy review paper
that employment rights are respected. We’re also calling on politicians to support our organising and industrial efforts to get recognition for performers as workers who should be paid properly.
on arts, culture and leisure can be found here: www.sinnfein.ie/contents/16521
How can I get involved in lobbying my MPs and parliamentary candidates?
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Along with this copy of the Equity magazine you will have received a postcard with six questions printed on the back. We’re encouraging members to get in touch with their local MP and candidates standing for election and to put these questions to them (plus any other questions you have about your working life!).
What will you do to encourage more live entertainment in our constituency? Equity has been very successful in achieving deregulation of live entertainment through the Live Music Act and exemptions for venues catering for up to 500 people. We need to build on these successes through Equity’s Live Entertainment Works campaign www.equity.org.uk/campaigns/ live-entertainment-works to ensure that the legislative changes translate to a growth in jobs for Equity members.
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What will you do to ensure that the licence fee is protected and the BBC is properly funded into the future? The BBC’s Charter renewal is due to take place shortly after the election and must be completed by the end of 2016. Politicians and media rivals are putting huge pressure on the BBC and it’s up to all of us to defend it. Equity will be focusing its efforts towards campaigning for a fair and transparent licence fee settlement which will enable the BBC to fund more production and create more jobs for our members.
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Given that investment in the arts and culture is a key driver of growth in the economy, will you reverse cuts that have been imposed since 2010? Figures released by the Department for Culture, Media and Sport at the start of this year estimate that the creative industries are now worth around £77bn or 5% of UK GDP and have grown by 10% in the last year – three times faster than the rest of the UK economy. This success is built on public investments by funding bodies including the Arts Councils, which provide the bedrock for the whole of the creative industries’ as well as supporting the UK’s tourism industries and creating jobs, growth and regeneration in our towns and citites.
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Given that 63% of people believe that councils should spend at least 50p per person per week on arts, culture and heritage do you support a duty for local authorities to fund local arts and culture? The arts and culture have had a great regenerative effect in towns and cities across the UK. In recent years our members have been campaigning hard to keep vital local authority funding in place to keep this good work going and to ensure that arts organisations can provide jobs for local performers.
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What will you do to improve the representation of all groups in society on stage and screen? Equity and many other advocates including Lenny Henry and the Act for Change Campaign have been working hard to get funding bodies,
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broadcasters and the film industry to tackle the under-representation of black and ethnic minority performers. There is much more to be done to build on the commitments that have been made by the industry and to undertake employment monitoring. We also need to push for better representation of women, and particularly older women in the media and more opportunities for LGBT and deaf and disabled performers.
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Do you agree that working in the performing arts is a proper, professional job and these workers deserve to be paid as such? As part of Equity’s Professionally Made, Professionally Paid campaign: www.equity.org.uk/made&paid we have been calling on the government to urgently issue sector specific advice for employers in our industries to ensure
For most elections there is no official source of information on candidates, so you should visit candidate websites, party websites, or write to your local political parties. To find out who your sitting MP is, type your postcode into www.theyworkforyou.com You can also get in touch with Louise McMullan at Equity on lmcmullan@ equity.org.uk to get help in finding out more about candidates in your local area. Through the Federation of Entertainment Unions we are also organising a series of events around the country to enable our members to pose questions directly to politicians. Notice of these meetings will be sent to members living in the following areas: Manchester – 9 April, 6-8pm at the Mechanics Institute Cardiff – 10 April, midday-2pm at the Radisson Blu hotel Birmingham - 21 April at the Arden Suite, Holiday Inn from 6.30pm-8.30pm. Glasgow - 15 April at The Hampden Park Stadium from 6.30pm-8.30pm London – 22nd April at the Free Word Centre 6.30pm-8pm.
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campaigns
talent will not rise if artists cannot survive financially
Rob Latour/REX
actor David MOrrissey is supporting our professionally made professionally paid campaign to combat low and no pay There has been a lot of chatter recently about “posh” actors. Are there too many of them? Have they had it too easy? Are actors who are just as talented but from poorer backgrounds getting pushed out? I have worked with some of the actors whose names have been in these stories and I can tell you that they are where they are because of their talent and acting ability. But we do have to take seriously the questions being asked about those actors who may have the talent but not the financial support and so are unable to have the opportunity to forge a career in this highly competitive industry. My family was not rich, but I got a start thanks to an inspiring teacher who encouraged me. Plus, I had the fabulous Liverpool Everyman Youth Theatre on my doorstep, which I joined in my early teens. So many school-age actors today who may have been encouraged by someone who spotted their early talent now have the enormous cost of training which leaves them in huge debt and early years of working for nothing or next to nothing on the promise of the ‘right exposure’ that will set their careers alight. Julie Walters has recently said that under the current grant regime she would not have been able to train. That is why Equity’s Professionally Made Professionally Paid campaign to combat low pay and no pay could prove to be one of the most important in the union’s history. There is a myth that if you have enough talent
Act for Change video campaign you will make it. It is true that you will not make it without both talent and the hard slog of developing your skill, but if your first experience of acting is years of low or no pay then no matter how talented you are you may not be able to survive financially. This makes the lack of diversity on our stages and screens even worse and both audiences and the industry lose when that happens. Equity’s campaign is encouraging theatre and filmmakers who may think that their budget is too low to pay actors properly to talk
There has been a lot of chatter lately about ‘posh’ actors” to the union about what the options are and how they can set themselves a step-by-step journey to fully establishing themselves. So far, the signs are good. Most theatre producers or filmmakers on micro-budgets think of what they are doing as professional and want to treat the people they work with as fellow professionals. A significant number of them have now approached Equity for advice. The campaign is also asking Equity members to contact the union when they are working on low or no pay so that the union can gather information about what is happening on the ground. Equity knows that some actors are okay about working for nothing and that many are not, but whether or not you are happy let Equity know what is going on so that they can get a full picture. I am backing Equity’s campaign and encourage other Equity members to do the same. But in particular, I encourage theatre and film producers working with very low budgets to approach Equity and work with us.
Find out more about the campaign at www.equity.org.uk/made&paid
www.equity.org.uk
The Act For Change project has been running a campaign called #WomenOfACertainAge highlighting the issue of the representation of older women on stage and screen. It marked International Women’s Day by showing six individual videos online featuring the actresses Juliet Stevenson,Denise Black, Ann Mitchell, Susan Brown, the writer, producer, comedian and actress Meera Syal, and the director Lucy Kerbel. In these video interviews, founding member of The Act For Change Project, actress and writer Stephanie Street has set out to discover whether the representation of our subjects is one which they recognise, identify with or wish to change. The Act For Change Project is a campaigning group for better diversity in the arts and is supported by Equity. You can find all of the range of #WomenOfACertainAge videos on the Act for Change YouTube channel including interviews on a wide range of diversity issues featuring actors such as Antonia Thomas (pictured).
@LiveEntWorks selfie prize The deadline for entries for the Live Entertainment Works! Selfie prize has been extended. It is now Friday, 1 May 2015. The idea is to take a picture of yourself with a poster or postcard at a venue and you could win £100. Send photos to mday@equity.org.uk Pictures can be seen at www.equity.org.uk/selfie
Boost for broadcasting in the Midlands Media, MPS and industry leaders in the midlands call for 50% of BBc licence fee raised in the area to be spent locally Equity’s campaign for more production to be made outside of the M25 has received a boost from the Midlands. Birmingham city leaders have claimed that the BBC is using the Midlands as a cash cow after new data showed the corporation spends a fraction there of what it spends in other regions. The Birmingham Post has reported that Midlands licence fee payers contribute £942 million to the BBC, yet the corporation invested just £80 million across the region last year – less than it spends in London in 12 days – according to the Campaign for Regional Broadcasting Midlands (CRBM). Equity activist Tracey Briggs (pictured)
is a leader of the campaign to keep television production in the Midlands and has welcomed the local press backing. She said: “At Last! The Birmingham Post has got behind the Campaign for Regional Broadcasting Midlands.” With the BBC’s charter up for renewal next year, the Birmingham Post and sister newspaper the Mail – backed by industry leaders and MPs of the three main parties – has made a series of demands including calling for at least 50 per cent of funds raised through the licence fee in this region to be spent here. Equity is campaigning for actors and other performance professionals to be considered for locally-made work.
Culture worth 50p per week A number of Equity branches have been approaching their local councils to ask them to support the 50p for Culture campaign. These include the North East London branch and the West and South West London branch (W&SW). The W&SW branch has produced a model letter members can send to councillors. An extract says: “I
would like to draw your attention to The 50p for Culture campaign led by The National Campaign for the Arts, the purpose of which is to prevail upon all local funding bodies to commit to a 50p per person per week investment in arts, museums and heritage. This appeal is supported by Equity, and by the support of 63% of people who believe culture is worth at least 50p week in council spending.” For more information about this campaign visit: www.50pforculture.org
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Shreddies’ knitting Nana – which brought her late fame on the street. She popped up with vignettes in Eastenders, Last of the Summer Wine and, more recently, Parade’s End. The late Queen Mother saw her Lady Squeamish in The Country Wife at the Georgian Theatre, Richmond. In the West End she was a wonderful Grandma in The Secret Diary of Adrian Mole and an extremely funny Mrs Meadow in Steaming. In recent years Sheila’s great talent for comedy was used in rather modern shows on BBC3, where she had to close her ears to the shocking language! Her final television appearance was
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Theatrical Fund
Corinna Marlowe Remembers the actress and staunch trade unionist who served on the Equity Council for ten years. She had a successful and varied career with her comic skill being rewarded in later life
Sheila was a tireless long-term secretary to the Save London’s Theatres Campaign”
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Sheila Collings
heila surprised her teachers at Leyton County High School for Girls with her firm intention to act, not type. When Joan Littlewood brought her Theatre Workshop Company to the Theatre Royal, Stratford East she started a new Drama School (later East 15) as evening classes. Sheila joined and was one of the students chosen to fill the stage in an adaptation of Dickens’ The Chimes at the Theatre, alongside young professionals Michael Caine and Thelma Barlow. She then had many adventures touring with a children’s theatre company – breaking down on the motorway on the way to the show with a van full of the fit-up set and costumes! Her career continued with small television roles and work on tour and in rep, until in 1965 she appeared in various roles in Oliver! – on tour, in the West End, in the film, and in 1968 as Mrs Sowerberry on the tour to Tokyo. She amused her friends with her usual party piece of Consider Yourself at Home! – in Japanese – on her 80th birthday last summer. For many decades Sheila ran the Leytonstone Library Play-reading Group. She had to choose and cast the plays for their weekly semi-staged performances, draw up the fliers, assemble props and costumes in her flat, get them there somehow (with no car), set the stage, and of course perform. Her career continued with great variety and regularity, including a delightful poster campaign for Myers’ beds, dreaming of being Cleopatra in a bath, and an unforgettable
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just before Christmas 2014 in Derek with Ricky Gervais, as a charming golden-blonde bridesmaid in bright orange organdie. A Labour supporter and staunch trade unionist, she was an Equity Councillor for ten years, from 1998. She received Honorary Life Membership at the Annual Representative Conference in 2008, for her work both as a Councillor and as the tireless long-term secretary to the Save London’s Theatres Campaign. As a teenager Sheila was smitten by the beautiful Hollywood actress Greer Garson, when she saw her in Random Harvest. From meeting her with her autograph book outside the Dorchester, they corresponded and became friends and a highlight of her life was attending the opening of The Greer Garson Theatre in Santa Fe. Sheila’s friends hope to publish her biography of the star. A Londoner, she also loved walking in Epping Forest and in the country, always in unsuitable shoes, carrying her large handbag, noting down the birds and wild flowers she saw. She gained huge pleasure from the gardens at Denville Hall, where she moved in 2011. She was also totally soppy about dogs and cats, the scruffier the better, and had a narrow squeak one night when she nearly lost Bill Sykes’ dog in Oliver! Her keen eye for human absurdity ensured that her anecdotes lost nothing in the telling! Sheila was a committed Christian, active in her Anglican Parish Church and a person of quite extraordinary kindness, always thinking of others far more than herself. An only child, she devotedly looked after her widowed mother in her old age. Lacking relatives, she cultivated a very large and varied circle of friends and god-children, who all miss her very much.
The Evelyn Norris Trust 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. 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. 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.
www.equitycharitabletrust.org.uk www.equity.org.uk
Lost your voice, stage fright, bad back – or any health problem arising from your job or studies as a performer Go to BAPAM - a free medical support service part-funded by Equity *assessment clinics for professional and student performers with performance–related health problems *directory of practitioners and clinicians *fact sheets with health and fitness advice For help phone Dan or Clare at 0845 602 0235 or 020 7404 8444 or visit www.bapam.org.uk
It’s your service – USE IT! summer 2015
Charity No: 1083295
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interview
Making it in the mainstream Rebecca Root is starring in the groundbreaking BBC2 sitcom about a transgender woman called Boy Meets Girl. She believes that trans people are finally getting recognition on our screens and in society Photography Phil Adams
My first experience of acting was taking part in the nativity plays at school and really enjoying being in front of an audience and making a show. At my secondary school I had a very influential drama teacher who encouraged me to apply for the National Youth Theatre. I got into NYT in the last years of Michael Croft and I absolutely adored it. I knew then that I wanted to train as a professional. I went on to study at Mountview at a fascinating time. The head of acting was Nikolas Simmonds, a deeply intellectual man. He was inspiring. We all loved him. He was difficult, but we loved him. For the best part of ten years I worked as a male actor, but I was never quite comfortable in my skin. I was a jobbing actor, doing what so many of us do, if we’re lucky. As I was approaching my thirtieth birthday, I knew that I had to address the issue of my gender. I needed time to reflect, ask questions of myself and be a human rather than getting anxious about my performance career. So I decided to take
some time out from acting. I needed to see professionals who could guide me and get me to where I wanted to be. Quite early on in my transition I bumped into a friend, she was just beginning her career as an agent. I spoke about my transition and she said “Oh, I’ve just seen a casting for Casualty that you might be interested in. They’re looking for somebody who’s trans for a semi-regular part.” I didn’t have an agent at that point so I agreed she could put me up for the job – and I got it. It was a nice role, with about six episodes across a period of months. The character was a trans woman and she and her partner were having a surrogate baby with one of the regulars in the show. I filmed two episodes and had a great time. I was lined up to do two or three more, and then a few weeks before the first episode was due to go out they told me the role had been cut. Not only were they dropping the part but they were re-filming with a cisgender [a person whose self-identity conforms with the gender of their biological sex] woman and changing the storyline so that she was
Boy Meets Girl will be the first mainstream UK sitcom to feature a trans actor playing a trans character
Approaching my thirtieth birthday, I knew that I had to address the issue of my gender” 24 /
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interview
Rebecca landed a role as a trans character in Casualty in 2003, but the storyline was never shown
simply sterile rather than trans. I’ve never been given a reason why and it was bitterly disappointing at the time. But it is interesting to reflect from this point in 2015 when the visibility of trans people has developed and there is a growing conversation about it. Casualty had the opportunity to be truly groundbreaking in 2003, and they didn’t take it. I know some people in the trans community will not be happy with the casting of Eddie Redmayne as a trans woman in The Danish Girl. In this case I think what is most important is that this story is told. It is about Lili Elbe, one of the first people to undergo sex reassignment surgery, and the film has a world-class cast and crew. I have spoken with many members of the production, including the producer, and believe they are making it with the right intentions and I will support it. I have a small role as a cisgender German woman and I’ve a scene with Eddie Redmayne. I must admit just before we filmed it I thought I would have killed for his role 15 years ago as his character is going through transition just as I was back then. Julie Hesmondhalgh played the trans character Hayley in Coronation Street and she’s been a wonderful advocate for the trans community. But I do think that will probably be the last major TV role that a trans character is played by a cisgender person. I think the time has come now when casting people will say: “We just can’t do that.” I would love to play more cisgender parts, and I don’t think there are any barriers to that. I think we’re at this interesting point in entertainment, and certainly in society, where people are increasingly less concerned about what you are rather than who you are. I think in the same way that 15 or 20 years ago people would’ve noted a gay character in a show or a sitcom because there would’ve been some reference to it, now that character might be gay but that’s not the point of the storyline. Now trans people are finding our place. It’s a slow process but I think there will come a time when a trans person playing a cisgender character will not cause people to scratch their head and wonder why. They will just see the character. Boy Meets Girl won the Trans Comedy Award and I had to audition a number of times as it was developed into a BBC2 show. The producers Tiger Aspect were determined
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Rachael speaking to a BBC reporter in the Council room of Equity’s offices in London
It’s brilliant that the BBC is putting out a show with a trans character as a major lead on BBC2”
to have a trans actor in the main role and if I had not got the part, another trans actor would have. I think it’s absolutely brilliant that the BBC is doing this. Putting out the show with a trans character as a major lead on BBC2, a mainstream channel, not BBC4 or iPlayer only. I feel they are really behind the show. I recently went to an event celebrating comedy at the BBC hosted by Tony Hall and an audience of comedy greats such as David Jason, Richard Curtis and Martin Clunes. They played a montage of classic clips from Python, One Foot in the Grave, Only Fools and Horses etc. They also had scenes from modern shows and
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among it all was a clip from Boy Meets Girl. It was an incredibly proud moment. If I can encourage just one person reading this interview to think “she did it, she’s ok”, then that will give me the belief to continue to follow my own heart. I don’t really see myself as an ‘activist’, but I do feel I have a certain responsibility. I do want to share my experiences and let people know that you can come through difficult times. I just want to encourage people to go out there and strive to be themselves.
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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. To receive it, contact the RNIB via: Donna Gordon, donna.gordon@rnib.org.uk 01733 375106
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Letters...
the president writes
Vanity is a terrible thing. I was recently in a posh bookshop, browsing in the arts section, where I saw Michael Pennington’s new book, Let Me Play the Lion Too: How to be an Actor, and I remembered he had contacted me some months ago for information and
heard for a very long time. He takes the reader through a brief history of both our union, and American Equity, his own sometimes ambivalent attitude to Equity throughout a long, distinguished career as an actor and occasional producer, and the reasons, including the moral imperative, for people, especially young people, to join and pay their dues. I want to quote a paragraph or two… “So go on, join. A young actor who’s serious about making a career – serious enough to read this book in fact – but who decides not to is setting himself or herself apart from the rest of the community, and without that community we’re done for. “We must believe that we stand together and achieve far more as a group than as individuals. I would call joining a moral obligation.” Amen to that. The rest of the book is full of the most marvellous stuff, which takes a career to learn sometimes, but which the young
Out shopping I saw Michael Pennington’s new book, so I picked up it up and looked in the index to see if I got a mention (I know, pathetic); but there was a single entry under my name that I found ridiculously pleasing” thoughts about Equity. He asked how we were doing, what were the issues, difficulties, successes and so on? I replied as best I could, as Michael was going to write a few pages about Equity in the A-Z section of the book, under E, unsurprisingly. So I picked up the book, and looked in the index to see if I got a mention (I know, pathetic); but there was a single entry under my name that I found ridiculously pleasing. So why mention this and why give Michael’s book a plug? Let’s call it a quid pro quo; his pages on the union make the case for membership better than any I’ve read or
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summer 2015
actor can now pick up and digest as he or she sets out on the journey. Plug over! Otherwise, I hope you all will consider becoming part of one of the union’s committees, which are currently seeking nominations. These include the new industrial committees, such as Screen and New Media, that are vital in neogtiating the best terms for our members. You have until Friday, 8 May to put yourself forward for the full range of Equity’s committees. The day before that deadline is the small matter of the General Election. I hope you use your vote. In both elections, we need the right people in charge!
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
Help your fellow actors’ spend a penny Permission has recently been obtained to turn part of the clerical area of the Actors’ Church into a lavatory with washing facilities large enough to take a wheelchair and to suit the needs of anyone who is disabled. The quote to convert is £44,000. St. Paul’s, the parish church of Covent Garden, is also known nationally and internationally as ‘The Actors’ Church’. This comes from the fact that when Charles II licensed two theatres after the Restoration in 1660, both of them (now, the Royal Opera House and the Theatre Royal, Drury Lane) were – and are – in the Parish of St. Paul’s. The connection with the profession has been continuous since then, and many famous members of the profession are memorialised here - it is indeed here at St Paul’s that the ashes of Edith Evans and Ellen Terry are interred. Even without this international fame, the church is extremely popular with the many visitors to Covent Garden and the three areas of the churchyard are major meeting and eating spaces, a quiet and peaceful spot contrasting with the clamour of the Piazza laid out by Inigo Jones and the first of London’s residential squares. The church therefore has a very public face. It is well attended for a myriad of services and events and requests for the use of toilets are frequent. We do have some upstairs toilets, but they are not remotely disabled-accessible. And whilst there are nearby public
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conveniences accessed off the Piazza, since these were sold off by Westminster Council, they are frequently closed. More to the point they are only accessible by a steep flight of steps. Thus, it is clear that there is no WC provision for disabled visitors. The church is in a relatively accessible state with an accessible route into the churchyard and a ramp negotiating the grand steps to the entrance. So, it is now their intention, funding permissible, to construct a disabledaccessible toilet in the narthex (foyer) of the Church. The drawings and quote for the work are available to anyone who needs to see them. Please HELP YOUR COLLEAGUES PAY A PENNY by splashing out a few of yours. Cheques should be made payable to St Paul’s Church Disabled Loo Appeal and posted or delivered to The Actors’ Church, Covent Garden, London WC2E 9ED. Faith Hines
Bravo, Rachael The Rachael Presdee article in Spring 2015 issue is brilliant. So touching. One of the quotes is: “You don’t do stage management for money or glamour.” I am an Australian actor now spending half my time in the UK again to be nearer our grandson. I have the greatest respect and affection for our stage managers, who always seem to be in control and making it look easy. I was very moved by Rachael’s courage and strength. Bravo. You’re a winner Rachael. Henri Szeps
Pantomime perils
I was amused by Geoff Marsh’s letter about the perils of pantomime-going now that marketting has made plastic swords and flashing ears so prevalent, I was reminded of an incident that happened many years ago in a Newport Monmouthshire cinema, when an ice cream was accidentally dropped from the balcony and an usherette sought us out with the enquiry “Was you the patrons what dropped the ice cream?” I can only say, as someone who has been hit in the face by a (prop) flying sword, that it is a far better thing that the patrons should pelt each other than that they should throw their merchandise at the cast. Peter Townes
Thanks from IPAT May I, through your columns, on behalf of the International Performers’ Aid Trust, our President Alan Rickman and all the performers we help all over the world, thank the generous Equity members who responded to the appeal Alan made to you online through Equity recently. We shall not know exactly how much this appeal raised until all the monies paid to the charity are forwarded from Just Giving, but a ‘back of the envelope’ calculation shows that, to date, we have received donations and pledges for membership of the Friends of IPAT, totalling some £4,300. Thank you all very much indeed. There is still time to visit our website www.ipat.org.uk and join your fellow members in helping your colleagues in deprived areas all over the world. As IPAT had no paid staff, you can be assured that every penny we receive will go to help performers in need. Thank you. Michael Branwell Chairman, IPAT chairman@ipat.org.uk
Well done Anita I worked with Anita Dobson many moons ago and she would not remember me. However, I do remember how kind and courteous she was. She was excellent in Eastenders, but if you ever get the chance to see her in the theatre it is an absolute treat. She is a tremendous actress, and well done for her mentoring work! Name supplied
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: Bob Appleby, Teresa Maria Asquith, Edward Atienza, James AustenMurray, Zen Barr, Carl Belew, Chrystine Bennett, Jack Benny, Brook Benton, Stella Bond, Richard Bonehill, Blythe Brockett, Sammy Cahn, Jill Cary, John Chesworth, Maureen Cliff, Elliot Collins, Ernie George Cooke, Steev J Cornwall, John Crocker, Pamela Cundell, Brad Danford, Tricia Dawn, Gillian Diamond, Geoff Dowdle, Jeanne Du Gay, Ray Edwards, Betty F England, Eileen Essell, Bill Everett, Stanley Fleet, Sonny Fossett, Robert French, David Glover, Stephen Gordon, Lesley Gore, John Graham, Maureen Guy, Catherine Hammond, Donald Harron, Mercy Haystead, Jan Hennell, Joan Hinde, Guy Holloway, Sheila Holt, Edith Hornall, Alan Howard, Andy Hunter, Barrie Ingham, Louis Jourdan, Anne Kirkbride, Sally Lahee, Robin Langford, Charles Lepper, Patricia Linden, Ronald Markham, Terry Martin-Terry, Geraldine McEwan, Simon McGuinness, Ken Mercer, Billy Moore, Ian Mullins, Leonard Nimoy, John Perrin, Gordon S Petrie, Aubrey Phillips, Derek Rencher, Peter Rhodes, Ria Richardson, Ronnie Ronalde, Brin Rosser, Demis Roussos, Kitty Scopes, Jeffrey Segal, Gerald Sim, Ann Spiers, Ward Swingle, Philippa Tatham, Shaw Taylor, Bimbo The Magical Clown, Bryan The Magician, Morlais Thomas, Jackie Trent, Stuart Wagstaff, Simon Wallis, Hugh Walters, Di Williams, Pauline Audrey Winter, Trevor Winter, Eva May Wong, Vincent W Wong, Pauline Yates
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 east of scotland general Next meeting: TBC Contact: Helen Raw, eastofscotlandequity@gmail.com
essex general Date of next meeting: TBC usually Quaker Friends Meeting House, Rainsford Road, Chelmsford Cm1 2ql Contact: mhrson@gmx.com or dee@deemardi.com
gtr manchester
& region
Next meeting: Check its Facebook group for latest news Contact: David Corden, equity.nwegb@virgin.net
herts general
London calling north west loNDON is a welcoming branch that hosts guest speakers and play readings
T
he North West London branch is a long established and lively one, holding meetings at 10.30am on the first Saturday of every month at the Central School of Speech and Drama. The branch has regular guest speakers: such as casting directors, directors and theatre journalists. It also has a Play Reading Group and usually does two performances of any chosen script at local venues. The scripts are chosen from contemporary works submitted to the Play Reading Committee. The branch is
brighton & sussex general Date of next meeting: TBC Friends Meeting House, Ship St, Brighton. Contact: Chris Webb 07973 465154
Mark Thomas. Opposite: Dan Prince
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
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summer 2015
concerned about the government’s new benefits scheme, which they believe discriminates against those working in the entertainment industry and will be raising it at Equity’s conference in May.
north west london general Date of next meeting: Saturday 2 May (always 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
central england general Date of next meeting: TBC, usually at The Wellington Real Ale Pub, Birmingham B2 5SN Contact: David Edgar: davidegar@gmx.co.uk
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. Wessex FM studios. Poundbury Road, Dorchester Contact: chris-gallarus@hotmail.co.uk
Date of next meeting: TBC, usually Queen Mother Theatre, Hitchin Contact: Lynn Robins on lynnrobins_a1sa@btinternet.com
home counties west general Date of next meeting: Tuesday 26 May, 7:30pm, South Hill Park Arts Centre, Bracknell Contact: Natalie Jenno on branch_sec_hcw@btinternet.com
kent general Date of next meeting: Sunday 14 June, 4pm, The Pound Westgate Towers Canterbury Ct1 2BZ Contact: Marie Kelly 07703 207878, kellygreenproductions@hotmail.co.uk
liverpool general branch Next meeting: 6 May, 6.30pm Everyman Theatre Contact: Cath Rice, 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: 15 June venue TBC Contact: Vicky Blades vickyblades@gmail.com
north lancashire & cumbria general Next meeting: 7pm,15 April at Robert Gillow Pub, Lancaster. Contact: Peter Rylands on 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 upon Tyne NE1 7RH Contact: Sue Reid on reidsuereid@aol.com or 07939 262613
n.east london general
Next meeting: 10.30am19 May at The Park Theatre, Finsbury Park. Wells Terrace exit of
www.equity.org.uk
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 Finsbury Park station currently closed. Contact: Nicola Hawkins nicolahawkins77@hotmail.co.uk
south & se london general Next meeting: Third Saturday of every month venue TBC Contact: James Ivens on james. ivens@gmail.com
west and sw london general Next meeting: 7pm, 6 May 7 Dials Club, 42 Earlham Street, London WC2H 9LA Contact: secretary.equity.wswlon@gmail.com
yorkshire ridings general Next meeting: Tues 12 May, 2.00pm, West Yorkshire Playhouse, Quarry Hill, Leeds, LS2 7UP Contact: Anthony Blakesley equity.yrgb@gmail.com
birmingham variety Date of next meeting: TBC Contact: john@jhprice.co.uk
blackpool variety
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 at Equity office, Glasgow G13QQ. Contact: Linda Rifkind, 0141 639 6969, 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: 11 June 7.30pm. Bridge Inn Greasbrough road Rotherham 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: 7.45pm, 11 May. Inn on the Green Filton Road Bristol Contact Mary Lane cllrmlane@equity.org.uk 07900 848003
Keeping it live! The North east of England Variety branch is campaigning for live entertainment in local venues
Date of next meeting: 1st Tuesday of each month, 1pm, Blackpool Cricket Club, Stanley Park, FY3 9EQ Contact: Chris Cotton, 07941 550315
coventry & leicester variety Date of next meeting: 20 April, 8pm, Stoke Coventry Club 7 Stoke Green CV31FP Contact: Sheila Payne: sheila.rodgers@btinternet.com
east anglia variety Next meeting: 11 May, 8pm Cavendish Rooms, 10b Mill Hill Road, Norwich NR2 3DP Contact: Peachy Mead, peachymead@f2s.com
east midlands variety Date of next meeting: 5 May, 8pm, Headstocks, Cinderhill/Bagnall Road junction, NG6 8SF Contact: Chris Shaw, 0115 974 5512, equityvbm18@hotmail.co.uk
humberside variety branch Date of next meeting: Monday 11 May Henry Vernone Court, Hull 7.30pm Contact: Christie Clifford, equityvbn4@msn.com
manchester
& district variety
Date of next meeting: 20 April 7.30pm Monroes Hotel, 38 London Road, Manchester M1 2PS . Contact: Yvonne Joseph, vonniegerry@btinternet.com
merseyside variety Next meeting: Second Monday of month, 7pm, Adelphi Hotel Contact: Les O’Neill, lesoneill@hotmail.com
n&w yorkshire variety Date of next meeting: Every third Monday at
T
he North East Variety Branch is a friendly and campaigning group supporting the variety sector in the North East of England. It is currently working on the Live Entertainment Works! campaign. This has the aim of approaching local venues asking them to display the poster supporting live entertainment and get across the message that the change in licensing law means that it is now easier to put on acts in venues with a capacity of 500 or below. The branch is also concerned about fees in the variety sector. It will be raising a motion on the issue at the
upcoming Equity conference in May. It will ask fellow members to support the motion calling on the Variety, Circus and Entertainers’ Committee to instigate negotiations with the relevant bodies with a view to establishing universally accepted rights of protection from unscrupulous engagers.
ne of england variety Date of meeting: 7.30pm, last Tuesday of the month, The Alberta Social Club, Jarrow. Contact Steve McGuire. Phone 01207238258, or email sirstephen2001us@yahoo.co.uk
special attention Members are instructed in their own interests to consult the Equity office before accepting engagements with or through any of the names on this list. In most cases, names are included because the individual, company or agency has owed or still owes members money. In other cases, entrants have refused to use our contracts and place the necessary deposits or put money in escrow. In some cases, money will have been secured for members through the courts or through the disputes procedures under our various contracts. These entrants remain so members can check with the Equity office that the correct procedures have been undertaken in respect of engagements offered. recently added Denis Stevenson: Bugle Boy Productions Ltd 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 AGENTS A ADP Entertainments (David Hunter), Allied Artists Management (Andy Grover), A M Artists (Ann Molloy), And Action Management (Alan Elliott), Anglo Artists Management,Robin Answych (Briarcom Ltd), Arena PromotionsLtd (1). B James Balfour (2), Bruce Benson Associates Ltd, Berry London Associates Ltd (Ceri Berry), Briarcom Ltd (Robin Answych), Paul Bridgewood (Xtabi Entertainments), Buchanans (3). C CADS Management (Terry Smith), Alan Chamberlain, Dee Christopholous (Millennium). D Patrick Duncan (Dealers Agency). E Alan Elliott (And Action Management). G Geoff Gibbons (Nightfall Entertainments), Jo Gilbert Associates (JGA Theatrical International), Peter Graham Associates (4), Andy Grover (Allied Artists Management). H Heals Entertainment (Philipa Sage), Rob Holloway, Mark Hudson Associates (5), David Hunter (ADP Entertainments), Fran Hurley. J Jukes Entertainment Agency, JGA Theatrical International (Jo Gilbert Associates). L Robert Lang Associates; Robert Lyndsey-Wilson (Gold Agency). M Millennium (Dee Christopholous, Jacqueline Whelan)(6), Ann Molloy (A M Artists), Roland Mowlam (Celebrity Marketing). O Ordinary People Ltd (Sarah Robbie). R Malcolm Rae Associates, Marco Rasala (Actors Inc. Real Creatives), Patrick Rimmel (RP Management), Michael Van Rindt (aka Anglo Artists Management/Anglo Americor Ltd), Sarah Robbie (Ordinary People Ltd). S Philipa Sage (Heals Entertainment), Jonathan Sands (Agency L’Image), Terry Smith (CADS Management), Stephen Stroud (Tobias Management), T Peter Talbot Agency (7), Tobias Management (Stephen Stroud). W Jacqueline Whelan (Millennium). X Xtabi Entertainments (Paul Bridgewood). VARIETY a Shona Adams (Juliet Adams Agency), Tony Adams trading as Secret Circus, William Adkins (Williams Organisation). Anne Young b Kevin Bearne aka Cefn De Bearne (Labyrinth Productions) c Capital VIP Group, Scotty Clark trading as Clark Sutherland Arts & Entertainments, Karen Lesley Clarke – Williams Organisation, Steve Cox— Pizzazz Productions, Crazy Horses Entertainment (Martin Marhall), Richard Curson (Tangible Media Limited). d Ray Dalton (Excel Entertainments).
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Michael Durber AKA Mick Appleyard (Appleyard Entertainment) . D4M Limited (Julia Charles) e Eddie Bloom – Bloom Festival, Elchris Group g Mark Greenhouse (Wendy House Productions), Roy Gurvitz (Lost Vagueness Limited). h Barry Hawkins, Fran Hurley, Gerald Leslie Hemming (Hemmings Leisure) j Kerry Jacks (The White Lion, Swandlicote), Don Jones Organisation (9). Julia Charles (D4M Limited) k Phil Knight (Street Leisure Ltd) l Tommy Laughton, Labyrinth Productions (Kevin Bearne aka Cefn De Bearne), Rochelle Leader (Top Hat International), Lost Vagueness Limited – Roy Gurvitz. m Martin Marshall (Crazy Horses Entertainment Consultants), Mr and Mrs Melville (The Fish Out Of Water Restaurant), Gabriel Bauza Munar (Ponsa Espectaculos) N New Time Entertainment Ltd — Cyprus (Panos Gerou) o Oliver Barton Entertainments & Productions (Michael Slater, Stan Smith (8). p Panos Gerou (New Time Entertainment Ltd — Cyprus) r Warren Rix s Secret Circus (Tony Adams), Michael Slater—Oliver Barton Entertainments & Productions, Stan Smith (8), Soho Set Dance Revue (Tony Sharman), Street Leisure Ltd (Phil Knight). t Tangible Media Ltd– Richard Curson, Top Hat International – Rochelle Leader. Thomas Hopkins u Untouched Entertainments – Marc Williams and Janine Wright. W Alistair Watts Entertainment, Wendy House Productions (Mark Greenhouse), White Lion, Swandlicote (Kerry Jacks), Williams Organisation (William Adkins and Karen Lesley Clarke), Marc Williams and Janine Wright – Untouched Entertainments. THEATRE A Adrian Monahan (Stage Works Theatre Company) b BAF Productions (Sarah Jane Worrell and Ian Worell); Peter Baldwin (Theatrical Productions Ltd) (9), Jayson Alexander Bartlett , Blue Genie (Gary Telfer ) c Michael Coffman (West Midlands Children’s Theatre Company). d Sally Davies (Khoros Productions Ltd) (10). f Henry Filloux-Bennett, Stephen James Makin (Le Nez Productions) g Gary Telfer (Blue Genie) PLEASE NOTE (1) not Arena Touring Theatre Ltd or Arena Personal Management Ltd (2) not James Balfour, an Equity member in good standing (3) not Bronia Buchanan of Buchanan Associates, London (4) not Graham Associates of West Yorkshire (5) not Mark Hudson, an Equity member in good standing (6) not Millennium Actors Agency
summer 2015
Íş
h Bryan Hands Productions Ltd, Hierographics Productions Co Ltd, Mike Hobman. i Tommy Iwering (Piccadilly Productions), Brian Izzard (Knaveacre Productions). j Andrew Jenkins and Paddy Wilson (One for the Road). JGA Theatrical International. k Robert Kennedy, FA Ketcher (Quick Tour Ltd), Khoros Productions Ltd (Sally Davis & Sylvia Swann) (10), Knaveacre Productions (Brian Izzard). L Stephen Leatherland & Karie Musson  (Standing Ovations Ltd, Theatremaster Ltd, Theatre 1st Ltd). m Minera Productions (Michael TyeWalker), Graham Mulvein (Graham Mulvein Holdings Ltd). N Nowell Wallace & Carole Le Foll (Sudden Productions and Rough Edges Productions) o One for the Road (Paddy Wilson and Andrew Jenkins). r Stephen Rayne (Shakespeare UK), John Redgrave. RecklessEntertainment. Richard Temple (Richard Temple Ltd) s Shakespeare UK (Stephen Rayne), Sylvia Swann (Khoros Productions Ltd Sally Davis) (10). Street of Dreams Ltd t Terry Finnegan Productions, Theatrical Productions Ltd (Peter Baldwin) (9), Michael Tye-Walker (Minera Productions). w West Midlands Children’s Theatre Company (Michael Coffman), Sarah Jane Worrell and Ian Worrell (BAF Productions). Paddy Wilson and Andrew Jenkins (One for the Road Ltd). FILM AND TELEVISION c Chancery Lane Films Ltd (Joseph Brooks), Communication Interlink Ltd (Simon McCarthy). d Philip D Deighton (Spectacular Sounds Ltd). Deene Naz (Summertime Pictures) E Elchris Group h Barrie Hawkins. l Liberations Productions (Warren Bader). m Simon McCarthy (Communication Interlink Ltd), Alan Macdonald, Mapleton Films Ltd, Mercury Films And Video, John Mortimer Video Promotions (11). p Palm Tree Production (Robbie Moffat) r Robbie Moffat (Palm Tree Production Ltd). s Spectacular Sounds Ltd (Philip D Deighton), Stuart and Graham Productions. Sisterhood TV Ltd t TVE Productions Ltd – Richard Bednall. Personal Management (7) not Peter Talbot of the Rude Mechanical Theatre Company (8) not Stan Smith of Saatchi & Saatchi advertising agency (9) not Peter Baldwin, an Equity member in good standing (10) not Sally Davies, an Equity member in good standing (11) not John Mortimer, an Equity member in good standing
Live performance Help desk Bullying reporting line Advice and rights helpline Subscription enquiries British Equity Collecting society
020 7670 0237 020 7670 0268 020 7670 0223 020 7670 0207 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 (Officers direct line: 020 7670 0263) 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
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GENERAL SECRETARY’S Department (fax 020 7379 6074) Christine Payne General Secretary (155) Duncan Smith Head of Finance (130) Louise McMullan Policy Development Officer & Assistant to General Secretary (160) Stephen Spence
Assistant General Secretary, Industrial and Organising (133)
LIVE PERFORMANCE (fax 020 7670 0265) Hilary Hadley Department head, Opera & Dance Organiser (136) Mike Day Variety Organiser (135) Virginia Wilde West End Organiser (139) Paul Fleming London Area Theatre Organiser (138) Emmanuel de Lange Low Pay No Pay Organiser (137) Beth Doran Organising Assistant (134) RECORDED MEDIA (fax 020 7836 5313) John Barclay Department head & PACT TV Organiser (146) Hamida Ali Equalities & Diversity Organiser (173) Ian Bayes BBC TV Organiser (152) Laura Messenger Films & Contract Enforcement Organiser (149) Cathy Sweet ITV & Radio Organiser (153) Tim Gale 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) Emma Cotton Tax & Welfare Rights Officer (151) Alan Lean Tax and Welfare Rights Organiser (157) Martin Kenny Legal Claims Referral Officer (125) Steve Rice Recruitment Organiser (172) Andrew Whiteside Recruitment Organiser 0161 244 5995 south East office John Ainslie South East Organiser Equity, Upper St Martin’s Lane, WC2H 9EG tel: 020 7670 0229 email: southeastengland@equity.org.uk scotland AND Northern Ireland office Lorne Boswell Scotland and Northern Ireland Drew McFarlane Organisers Equity, 114 Union Street, Glasgow G1 3QQ tel: 0141 248 2472 email: scotland@equity.org.uk northernireland@equity.org.uk North West office Jamie Briers North West Organiser Express Networks, 1 George Leigh Street, Manchester M4 5DL tel: 0161 244 5995 email: northwestengland@equity.org.uk North East office 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 Tim Johnson Midlands Organiser Equity, Office 1, Steeple House, Percy Street, Coventry CV1 3BY tel: 02476 553612 email: midlands@equity.org.uk EQUITY MAGAZINE EDITORIAL (fax 020 7836 5976) Phil Pemberton tel: 020 7670 0211 email: ppemberton@equity.org.uk EQUITY MAGAZINE PRINTING Jeremy Littlestone, TUInk, tel: 020 7729 9425 email: jeremy@tuink.co.uk EQUITY MAGAZINE ADVERTISING 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 Services Authority and General Insurance Standards Council and problems with such services should be taken up with the appropriate body. Equity cannot accept any liability for the quality of goods or services offered in advertisements.
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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.
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! * 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.
Soho Recording Studios, 22-24 Torrington Place, 3VUKVU WC1E 7HZ
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