EquityUK Magazine - Winter 2017

WINTER 2017 www.equity.org.uk

Celebrating 20 years of the Equity Pension scheme Students join new deputies network Report from the TUC Congress

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Contents News

04 Equity Pension 06 London arts manifesto

Success stories A range of insurances that complement the established Equity cover:

24 Eunice Olumide

Features

14 Student Deputies 18 Meet the CDA 20 TUC report

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28 White Ribbon day

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08 Meet the membership 30 Letters 32 Branch update

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FRONT OF HOUSE

UPFRONT

Acting Class film examines industry bias

HAPPY BIRTHDAY EQUITY PENSION!

Philip Hartley & Mark Thomas

CAST OF MAMMA MIA! AND EQUITY’S COUNCIL JOIN IN THE CELEBRATIONS MARKING 20 YEARS OF THE EQUITY PENSION THE EQUITY PENSION SCHEME (EPS) HAS CELEBRATED ITS 20TH ANNIVERSARY, as the Novello Theatre production of Mamma Mia! marks its third consecutive year of the full cast being signed up to the scheme.

Mamma Mia! The EPS was set up to help Deputies, above, performers and creative and the Equity practitioners prepare for their Council mark the future and retirement. promoting the benefits of Pension’s It was designed specifically Equity membership, such as anniversary for members because of their the EPS, agreements, insurance unpredicatable work lives and is and legal help to their colleagues. the only scheme that theatre, film, The Equity Council and union staff television and radio production also took time out from the October companies will pay into.

Council meeting to reflect on the Mamma Mia! Deputies Mark Isherwood achievements of the pension scheme. and Oli Reynolds are delighted in their Currently, the EPS is managing more fellow cast members’ united commitment than £117 million, and there are around to the scheme.

8,300 people signed up to it. The EPS is “It shows that people really believe in now Aviva’s, the insurance, savings and the change that can come from being in investments firm, largest personal pension Equity,” Oli said. “It’s a great thing for the scheme and it has received more than union and a great thing for London £60.8 million from production companies. theatres.” Mark agreed, stating that the Members can indicate which of the more scheme showed “the power Equity has than 270 investment funds they wish to when it comes to getting a good deal”. invest in, including Ethical and Sustainable The work of Mark and Oli underscores Future funds. For more information contact the important role deputies play in andrew.barker@firstact.co.uk

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EQUITY COUNCILLOR DAVID JOHN REPRESENTED the union at the premier of The Acting Class: a documentary about class bias within the industry.

On 19 September, he spoke on a panel discussing the issues of working-class representation in the performing arts at TUC Congress House.

David John said he was delighted to speak at the event, adding: “Young working-class talent entering the industry is a subject close to my heart. I personally have been able to make my living in this industry only due to the education grant system, which is sadly long gone.

“Our job as actors is to reflect the whole of society in an authentic and convincing way and we need people from all backgrounds and cultures to do this.

This is an extremely important issue for Equity to commit to, as many members are struggling to survive in the industry and many possible future members are being counted out before round one.”

The film follows Tom Stocks, a performer who had to twice turn down drama school offers because he could not afford the fees. Subsequently, he set up the Actors Awareness campaign to tackle of class inequality within the industry.

The documentary also features actors including Julie Hesmondhalgh, Christopher Eccleston and Samuel West, who speak about how the industry has become more exclusive, and why a lack of socioeconomic diversity on (and behind) screen must be redressed.

The documentary’s directors Mike Wayne and Deirdre O’Neill are interested in screening the film to Equity branches, contact them at insidefilm@btinternet.com

Acting for Others helps vulnerable EQUITY MEMBERS ACROSS THE UK have taken part in Acting for Others annual bucket collection dates. On 16 and 23 October, casts asked audiences to donate to a cause close to their hearts: offering support to vulnerable members of the industry.

Acting for Others is an organisation made up of 15 charities that offer “advice, emotional support and financial assistance to those who have worked in the entertainment industry”. They work with actors, dancers, musicians, creative team members, front of house and backstage staff who are in need of help.

On 20 May, at The Actors’ Church, Covent Garden, London casts competed in the West End Bake Off, which raised £5,000 for the cause.

In 2016, productions and events across the nations managed to collect £362,000 for Acting for Others, with the Prince of Wales Theatre’s Book of Mormon raising £42,810.33 over two weeks.

You can find out more about Acting for Others’ work, and how to help this charity, by visiting: www.actingforothers.com

Distribution starts: Members’ fee free THIS MONTH EQUITY WILL commence distributions to performers of royalties and other usage payments related to their work undertaken on Equity contracts, beginning with Equity film and television royalties.

Equity distributions will include, but are not limited to, the following: Equity film and television royalties; BBC, ITV, Channel 4 and Sky catch-up/On Demand services; BBC, ITV and Channel 4 European Retransmission; Theatre cast album recordings.

These are contractual payments and will normally be paid to the agent named on the corresponding contract. There will be no fees or commission for Equity members. For example, non-members will pay 5% + VAT for BBC, ITV and Channel 4 European Retransmission monies. For more on Equity’s distribution services contact: distributions@equity.org.uk

Christine Payne General Secretary

The shocking nature of the sexual harassment and abuse being reported has caused us to think about what more we can do to support our members THE RECENT REVELATIONS concerning sexual harassment in the film industry have been appalling. This behaviour is simply unacceptable and Equity will continue to defend our members in the casting process or in the workplace and will hold the perpetrators to account.

This is an issue the union takes extremely seriously and we have to use the moment to try and effect real and meaningful change. Change not just in attitudes but in practices. Rosie Hilal from Equity’s Women’s Committee put our case brilliantly in multiple news outlets, including BBC Breakfast, Sky News and Newsnight. She spoke for us all. As our Manifesto for Casting sets out, we believe the industry will thrive only if it adheres to the highest professional standards, which certainly must include those in positions of power and responsibility, and also increases the equality and diversity on stage, screen, radio and online.

It takes courage for members to make a stand and speak out so publicly on this issue and it takes tremendous courage for those who have been the victim of sexual harassment to come forward and report the abuse. The union is here to support you and we will treat cases reported to us in complete confidence. Please get in touch if you have concerns (see contacts on page 34).

The shocking nature of the sexual harassment and abuse being reported has caused us to think again about what more we can do to support our members. As a consequence, Vice President Maureen Beattie and I will put forward proposals to the Council meeting in November on dealing with sexual harassment.

On another related matter, bullying, the union has been working with our sister unions in the Federation of Entertainment Unions on the Creating Without Conflict campaign. A composite motion on bullying was passed at the 2014 Equity Conference from the North & East London and Northern Ireland General Branches which resulted in the creation of the AntiBullying Working Party, composed of Xander Black, Charlotte Cornwell, Nicky Goldie, James Hamilton Welsh, Patrick

Rocks and Inez Thorn.

This produced an online publication A Guide to Bullying - What You Can Do, plus postcards and a section within the members’ area of the website www.equity. org.uk/bullying alongside our existing Bullying Reporting Line. Two training days took place in January 2017 for representatives from branches, and at our conference in May this year we ran a session called ‘Tips for Dealing with Bullying’ for our student members.

Bullying has a detrimental effect on mental well-being, and so we have also worked with The Stage, the British Association for Performing Arts Medicine and Spotlight on a mental health website: www.artsminds.co.uk On behalf of Equity, Louise Grainger recently delivered the keynote speech at the International Comedy Conference on mental health in the comedy industry.

In October, on World Mental Health Day, the Northern Ireland General Branch took part in an event concerning Building Resilience for Arts and Freelancers and members at the Welsh National Opera got involved in raising awareness about mental health in the workplace. In addition, the East of Scotland and the Bristol & West General Branches have undertaken valuable work locally on mental health. The East of Scotland branch set up a mental health sub-committee this year and have created a members’ support pack, find it on their website at: www.equity.org.uk/branches Following two motions from this year’s Equity Conference, from the London Area Annual General Meeting and the West & South West London General Branch, Equity will be appointing a member of staff to support our anti-bullying and harassment work.

All organisations must constantly review their own internal procedures to ensure they are fit for purpose. We have unfortunately had to respond to disruptive behaviour at some of our branches and I will be looking into whether we need to change the rules and procedures to ensure our democratic processes are protected and that all members can attend meetings confidently.

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FRONT OF HOUSE

In brief...

Annual Peter Plouviez Conference

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BRANCHES SEEK ARTS PLEDGES IN LOCAL VOTE EQUITY’S LONDON BRANCHES will launch their Local Manifesto Pledges initiative on 31 October at Parliament. The campaign aims to persuade the main political parties in all London boroughs to sign up to five policies that will support live performance in the capital.

The branches’ manifesto particularly seeks to put live entertainment on the agenda in the run-up to London’s local elections in May. The document asks parties to sign up to a number of measures including enforcing the payment of industry rates for productions or events which receive local authority support; ensuring money for professional live performance is part of multiple departments’ budgets; and creating at least one ‘Creative Enterprise Zone’ in each borough by 2022.

The manifesto also seeks cross-party commitment to provide professional live performance spaces and to establish a biannual trades council meeting for creative industries’ professionals.

For further information contact Paul Fleming on pfleming@equity.org.uk

Equity backs Acting Up report EQUITY HAS STATED ITS SUPPORT for the recommendations made in the Labour party’s Acting Up report on making the performing arts more accessible and diverse.

Equity contributed evidence into the inquiry that produced the report and its conclusions reflect the work of the union’s campaigns, such as the Manifesto for Casting, Play Fair and Professionally Made Professionally Paid. The report said that there is a “class-shaped hole” in the debate about access to a career in the entertainment industry. It added that: “Looking at protected characteristics is critical but so too is looking at socioeconomic background, which strongly intersects with protected characteristics such as race and disability.”

Its recommendations include revamping the Ebacc to “recognise the benefits of creative subjects”, the government ordering “a review into National Minimum Wage enforcement in the performing arts industry by HMRC” and for broadcasters, film companies and theatre “to do more to bring on and develop working-class and diverse talent” for both onstage and behind the scenes roles.

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Stage Mgr Day

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www.equity.org.uk

MEET THE MEMBERSHIP

Puppet master

Q

When did you decide to make puppeteering your career?

As a kid I went to a puppet exhibition at a Bradford TV museum, which was all [Jim] Henson’s stuff – such as things from The Muppets and a TV show called Storyteller, which I loved. That’s where I found out about Jim Henson’s creature shop in Camden, the place where these creations were made.

Fortunately I managed to get some work experience there and for a long time I wanted to make animatronics. I was also doing youth theatre and as part of that there were two productions where performing and making came together. One was The Lion, The Witch and The Wardrobe where I built a pantomime lion that you could get into and make talk, walk and roar and then Little Shop of Horrors with the big man-eating plant.

Iestyn Evans is a member of Equity’s Puppeteers’ Network and describes why the art form is firmly in fashion and how you can start with a sock Photography Paul Stuart

Q

What’s the most rewarding job you’ve ever been on?

The BBC Three puppet sitcom Mongrels, which I worked on during 2009-10. It’s probably the most rewarding because my company Talk to the Hand had so much input in that job. We decided what the puppets were going to look like; built them; performed them on set; co-ordinated the puppetry; liaised really heavily with production on how we were going to do things. It would usually be a six-month build followed by a three-month shoot, so it took the best part of a year for us, it was very immersive. We really got to challenge ourselves on a daily basis, just to get better and refine our craft.

I began by making a pantomime lion that could talk, walk and roar”

Q

Why do you think there has been increased interest in puppeteering in TV and film?

I think it has developed from the exciting puppetry that has been happening in theatre and the influence of people such as Julie Taymor who directed The Lion King, which opened on Broadway in 1997. Avenue Q happened shortly afterwards and was inspired by Sesame Street. Then War Horse was developed, showcasing a completely new way of puppeteering a horse on stage, and then Walking with Dinosaurs. People started looking at those things and thinking, “What would it be like to put those techniques into film?” I also think there’s a nostalgic aspect. With Star Wars and other franchises coming back, people wanted to make it feel like the originals, which was very hand-made and created (as opposed to the prevalence of computergenerated creatures that you find in the prequels), so that brought back doing practical effects.

Iestyn is concerned with the increasing hours demanded in TV production and the expectations around repairing puppets

Interview: Laura Gilbert

Q

You’re a member of Equity’s Puppeteers’ Network, which was established a year ago. Could you tell me about the inspiration behind this Network?

Last year a puppeteer colleague had an experience where she wasn’t able to join Spotlight because of a perceived lack of acting experience. She argued that she had been acting with puppets her whole career, and a lot of people have been getting puppeteering jobs through Spotlight. There was a lot of trouble with them accepting that she actually had acting experience. She spoke to Equity and this raised further issues about the working lives of puppeteers and fed in to the creation of the network. I remember some time ago going to a meeting about puppetry with Equity that became too caught up with a debate about what a puppeteer was and nothing really came of it. This new network is proving to be much more productive. For a long time people have said, “Why isn’t there a puppeteers’ union?” And the answer is, “There is a performers’ union, we just needed to start having a conversation with them so that they understood us better.”

www.equity.org.uk

Q

What issues do you think puppeteers face in the workplace?

Puppeteers are regularly asked to fix the puppets they are working with, which is like assuming an actor will be repairing their costume or props. Fixing or maintaining puppets is a skilled job for a specific person, and by accepting that role you’re potentially putting someone out of a job, or you’re not getting paid enough to do that work yourself. Recently I heard of a production where a puppeteer performing on the show was offered 30 quid a week to maintain all the puppets. Plus, film productions pencilling dates in, rather than properly booking us isn’t really functioning and I think we need to try to get back to: “If you need us, you book us, and then if you don’t need us you still pay us.” When I got into the industry, the standard day was around ten hours – that was the first TV kids’ show that I worked on, The Fimbles, and that was quite sustainable. More recently, jobs have become 11, 12 hours. There are also health and safety issues in the workplace. For example, I know performers who have hurt themselves because the camera was too low and they had to contort themselves to get their head and body out of shot, and then they’ve subsequently injured their back.

Q

What advice would you give someone who wanted to pursue puppeteering?

Just start doing it. Buy a puppet, get someone to make you a puppet or do it yourself – use a sock. There are now more places than ever before where you can train and do workshops. Write to people who you find interesting. I went to Australia, and while I was there I saw the theatre company Royal Deluxe, known for their giant marionettes, and also a company called Creature Technology who do the stuff for Walking with Dinosaurs and who built How To Train Your Dragon puppets. I wrote to them and said, “Can I come and visit you?”

And everyone I wrote to was like, “Yeah, come in! Have a look!” Watch how other people do it, record yourself puppeteering, see what you think works, see what you think doesn’t work, develop an eye for it.

I think one of the most important things in puppeteering is having an eye for when something looks right, and the only way to develop that is with practice.

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SUCCESS STORIES

Audiobook narrators joined together to celebrate their work and discuss this growing sector

ON THE FRONT FOOT IN DANCE

Phil Adams, Mark Thomas

UNION HAS A NEW AGREEMENT WITH HOFESH SCHECHTER COMPANY AND IS CONNECTING TO CHOREOGRAPHERS

EQUITY AND HOFESH SHECHTER COMPANY have worked together to create a house agreement to help develop industry best practice.

The union and the National Portfolio Organisation joined forces to create a contract that guarantees decent working conditions for dancers working on its shows, and ensures they are paid above the Independent Theatre Council minimum rates.

Henny Finch, executive director of Hofesh Shechter Company, said: “At Hofesh Shechter Company we are very proud of our sector-leading terms and conditions for artists, including our permanent company of dancers who come from all over the world to work with us. I’m delighted we were able to work with Equity to create a house agreement that is in line with their terms and conditions and hope that other dance companies will follow our lead and adopt best practice for their artists as well.”

Paul Fleming, live performance industrial organiser at Equity, agreed, stating: “Our new agreement with Hofesh is a meaningful testament to the union’s commitment to standing with contemporary dancers seeking to achieve decent terms and conditions in their sector.

“Our constructive negotiations with Hofesh are helping us begin to establish industry standards on which all contemporary dancers can depend – whether freelance or in a standing company. That means assurances around rates, holidays, sick pay and, most importantly, an ongoing voice over the evolution of the sector that needs their talent.”

Meanwhile, in July, Equity and One Dance UK hosted an event for choreographers to speak about pressing issues facing their industry. Almost 40 choreographers, and representatives from both organisations, gathered at The Hospital Club in London.

A panel was chaired by Equity head of live performance Hilary Hadley, and featured One Dance UK chief executive Andrew Hurst, Equity Dance Committee member Sara Wookey and previous Equity Choreographer Committee member Maggie Rawlinson.

Attendees got involved in the panel discussion,

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‘Understanding Contracts for Choreographers – What Do We Need and What Do We Want?’, which highlighted key industry concerns including commissions, inadequate funding and exploitation of emerging choreographers. In addition to this, members pointed out they were troubled by unfavourable rates, and issues regarding copyrights and royalties. This feedback will now be taken on by Equity as the union negotiates new choreographers’ agreements, and it was decided that a choreographers’ working group would be established.

Equity creative team councillor Mickael Riviére commented that the event demonstrated that there was a “real thirst for knowledge and for doing the right thing,” and the meeting provided an opportunity to collaborate in the pursuit for better, fairer working conditions for all choreographers.

Equity and One Dance UK hosted an event for choreographers in July where they spoke about the pressing issues facing their sector

UNION AND AUDIBLE CHAMPION THE READER Creative team deserve fringe fair pay alongside performers CREATIVE TEAM COUNCILLOR DAN AYLING, pictured, has worked with the union to ensure the forthcoming production of The Trap at Omnibus Theatre in Clapham uses solely Equityapproved contracts for actors, stage managers and the entire creative team.

“It is important to recognise that the union’s Professionally Made Professionally Paid campaign is about fair pay and conditions for all members, including those in the creative team,” explained Ayling. “So as the councillor that represents directors, designers and fight directors, it is utterly sensible that I should be leading the way, and demonstrating that it is, of course, possible to work on the fringe, pay people for the work that they do and acknowledge the skills of all the people working on the production.”

When asked what advice he would give to companies who want to make sure their teams are properly paid, Ayling said: “Do not be frightened if you don’t understand the contractual situation.

Just ask for help – because there is plenty out there.” www.equity.org.uk/made&paid

www.equity.org.uk

FOLLOWING THE SUCCESS of Equity’s 2015 audiobook conference, the union once again brought together producers, publishers, readers, agents and authors on 2 October. Staff worked with the Audiobooks Working Party to host an event to celebrate the role of the audiobook narrator, which was held at the BFI Stephen Street Kitchen & Bar, and supported by Audible.

More than 150 people in attendance listened to speeches from Equity audio councillor David John and from Audible’s Laurence Howell, who spoke about the booming industry.

David said: “It’s important the raise awareness of the contribution of the narrator. Just like the actor performing a well written play, the audiobook narrator is

crucial to the production of an excellent audiobook.”

Laurence Howell went on to raise a toast, in celebration of the reader.

It was a lively evening, and audio producer Alec Reid described it as “the perfect occasion for reuniting with old friends and meeting new ones,” and that “it was a real pleasure to be reminded how interesting and stimulating are the people who work in the audiobook industry”.

Equity audio organiser Cathy Sweet said: “I am delighted after a lot of hard work the event was such a success for our members. We are grateful to Audible for its support and we could not have done it without the invaluable help from the Audiobooks Working Party.”

Equity at Edinburgh EQUITY ATTENDED THE EDINBURGH Fringe Festival, to support performers and raise awareness of the union’s work.

Organisers Emmanuel de Lange and Stephen Duncan-Rice visited casts and met with a range of members, from actors to street performers, and the union hosted 11 events. These included a discussion on disability in the entertainment industry, a ‘Funny Money’ talk on payment in the comedy sector, drop-in advice zones and The Sanctuary – a calm, quiet space away from the noise of the festival.

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SUCCESS STORIES

Equity’s Los Angeles garden party was hosted

by Equity President Malcolm Sinclair, top, and was enjoyed by members living or working in LA

IMPROVING HAIR AND MAKE-UP FOR BAME PERFORMERS

EQUITY NETWORKS CONNECT ACROSS NORTH AMERICA

Phil Adams, Rex Features, Phil Hartley

UNION HOSTS EVENTS IN LOS ANGELES AND TORONTO AND ITS WEST COAST NETWORK MEETS ON 5 NOVEMBER EQUITY RECENTLY HOSTED ITS FIFTH ANNUAL LA GARDEN PARTY, celebrating five years of the US West Coast Network. Equity’s member-led networks in the US and Canada are designed to bring members together who are living or working outside the UK. President Malcolm Sinclair was the guest of honour at the Beverly Hills function, which was sponsored by Sipsmith Gin. The network party has become an established event at the close of the Emmys season as it is held the Saturday after the final award ceremony.

Previous to the party, the union hosted its third annual Toronto International Film Festival reception in Toronto and a casting Q&A, which more than 70 members attended. In Los Angeles there was a programme of activities including a Q&A with a panel of leading casting directors, arranged in partnership with Spotlight, plus a series of meetings with studios and employers by Equity organisers.

For members on the West Coast of the US, the fourth annual New York reception will take place on 5 November, find out more at: nyc@equity.org.uk

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West End Deps meet to discuss effect of social media EQUITY HELD ITS ANNUAL DEPUTIES’ AFTERNOON TEA in September, to celebrate the hard work and tireless efforts of the Deps to improve conditions for their fellow cast members, and the industry as a whole.

Deputies gathered at the Clore Studio for tea, cakes and a lively discussion on the role of social media within theatrical productions. Equity dance councillor Nicholas Keegan and Donmar Warehouse casting director Alastair Coomer spoke at a Q&A about this subject, and deputies spoke about the effect Facebook, Twitter and Instagram had on their working lives.

www.equity.org.uk

FOLLOWING CONCERNS ABOUT THE HAIR AND MAKE-UP TREATMENT OF BAME PERFORMERS, EQUITY AND BECTU ARE PILOTING A NEW TRAINING SCHEME

EQUITY HAS WORKED WITH BECTU to pilot a new training programme for hair and make-up artists, providing them with the knowledge and techniques necessary to work with black and Asian performers. The two unions, joined within the Federation of Entertainment Unions (FEU), have come together to fund vital workshops that will improve conditions for minority ethnic actors.

Actor Peggy-Ann Fraser raised concerns about the inequality in behind-the-scenes treatment to Equity. Black performers’ needs, she explained, have not been met. Frequently, they have been asked to do their own make-up, or get hair cut by their personal barbers. Fraser described her own experiences of being left “ashy-faced or with a grey complexion” due to improper foundation use, and of being “put in a scarf” by stylists who don’t know how to work with afro hair.

Peggy-Ann met with Equity’s Minority Ethnic Members Committee and Bectu’s Hair and Make-up Branch, to find a solution to this issue. They identified that the problem was caused by a lack of training, a lack of correct equipment and a lack of BAME models for artists to train with. Accordingly, the two unions developed a course to plug the knowledge gap.

Liverpool join in the branch celebrations across the UK EQUITY BRANCHES HOLD A RANGE OF EVENTS throughout the year: from campaigning, summer picnics to guest speakers and 2017 included shows to celebrate the union’s Year of Variety. The Liverpool and District General Branch took the opportunity to mark their summer social by presenting 86-year-old actor John Swindells with a certificate to mark his membership. John, who starred in British TV drama series Z Cars as Sargent Ted Bowman, now lives in Canada but was born in Wavertree, Liverpool. Despite moving across the ocean in 1973, John recently wrote to ask to join his hometown branch. He was, of course, welcomed with open arms. Find your local branch at www.equity.org.uk/branches

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STUDENT DEPS

A new

VOICE

for students Roze Elisa is one of Equity’s newest student deputies. She will be part of the network that will engage students with the union, provide support and enable them to shape the future of the union Photography Phil Adams Words Laura Gilbert

quity is creating a brand new student deputy network to help empower its members.

The union will use this new scheme to engage students, provide them with a support network and actively involve these members in democratic structures. In turn, this will enable students to help shape the union’s future.

Equity has well-established networks for members working in various fields, including Opera and the West End, and believes it is now time to replicate this model.

Student membership was established in 1998, and there are currently almost 5,000 people in drama and creative practice programmes across the country carrying Equity cards. The union is now asking students to put themselves forward and act as deputies for their schools and universities.

Third-year East Fifteen student Roze Elisa has done just this. When asked why she believed it was important for drama students to unionise, she underscored the importance of “getting prepared”. “You should know your rights, and how far people can go with you or else they will take advantage,” she stated, “and Equity helps you not get taken advantage of.”

Having moved from the Netherlands to the UK to pursue her training, Roze initially “didn’t know a lot about the British world I was going into”, and her school was particularly keen on encouraging its students to join Equity. “I never really looked into it before,” she admitted. “I knew unions were a thing for other jobs, but I didn’t really realise it was a thing for performers as well.” After visiting Equity’s website, she became a staunch advocate for the union’s work.

Roze believes that student deputies can aid their peers by explaining the benefits of union membership. “I feel a lot of us are joining simply because it’s part of what you have to do, you just join, the end,” she explained. “People don’t really

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www.equity.org.uk

There are currently almost Rae nis eos eosamus 5,000aut Equity dendant que members in comnis ut ullam, and vendicidestdrama quisinveni creative practice sundis as etur serios vercillectoprogrammes cusa pa vel magnimi libusan

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Actor Musicianship, MA/MFA* Actor and Performer Training, MA/MFA Ensemble Theatre, MA/MFA Postgraduate Certificate in Learning and Teaching in HE: Theatre and Performing Arts (PGCLTHE) • Research Degree Programme, MPhil/PhD • Summer Masterclasses • Theatre for Young Audiences, MA/MFA*

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Being a student deputy is an amazing opportunity and I feel very lucky to be in at the beginning” research what [Equity] is, and I think if there’s more awareness then if there is an incident or anything, they will know where to go, because they know what they signed up for and know what can help them.”

Equity will provide its student deputies with the training and resources needed to know how to respond to other students’ concerns. This in turn will help create a dialogue between the union and its members, which will allow students to regularly inform Equity about the issues they face – whether this is the cost of drama schools, concerns about how Brexit will affect international students, or unpaid work taken alongside their studies. Low and no pay issues are particularly important for students, and Roze believes her peers deserve proper compensation. “People expect you to work for free, because it’s part of the drama world, but it shouldn’t be,” she said. “We should still have the same rights as other workers. It’s a service you’re providing, and you should get paid for it.”

In the interest of increasing student representation within the union’s democratic structure, two members of the network will be elected to attend the union’s annual conference. Outside of this, the deputies will meet twice a

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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.

year. Roze is particularly excited by the networking aspect of this role. “A very big reason of why I wanted to do this is because I thought ‘I’ll meet so many new people and get different perspectives’,” she said. “When you’re out there in the industry, then you may recognise people, and be able to say ‘oh, I know them, maybe we can help them’, or if you need someone for a project you might say ‘oh, I remember them from Equity, because I met them there.’

“I honestly don’t understand why people would not want to become a student deputy,” Roze concludes. “It’s an amazing opportunity, and I feel very lucky to be in at the beginning.”

Equity student and events co-ordinator Amy Dawson said: “Engaging students with the union early on in their career is a really positive step for Equity, and being able to engage in our democratic processes is a wonderful opportunity for our student members.

“I hope that with this network we are able to find out what the issues are for students, and foster stronger relationships with drama schools. Giving student members a greater voice will be beneficial to all of us. They may even end up becoming future leaders of the organisation!”

Find out more: students@equity.org.uk

www.equity.org.uk

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

bruford.ac.uk Rose Bruford College, Burnt Oak Lane, Sidcup, DA15 9DF

*Subject to validation

CASTING DIRECTORS’ ASSOCIATION

Three

have a female play this character? Can we have a BAME family?” But I believe commercials are being broader now, whether it’s a disability or greater racial diversity.

THINKING

What are the challenges facing a diverse workforce in the commercial sector?

S: A lot of the casting suites do not have disability access. I remember casting a wheelchair user in a film and I had to use the courtyard of the casting suite!

A: It can be a problem for commercial casting, because the client expects it to be in a casting suite.

S: Plus, there is often the need for lights and a backdrop – which is what casting suites are suited for. It’s those physical changes to a building that’s going to make a huge difference to the amount of people we can bring through the door.

The Casting Directors’ Association’s Shakyra Dowling, Tree Petts and Andrea Clark share their thoughts on current casting practice and Equity’s Manifesto for Casting Photography Phil Adams

What’s the ethos behind the CDA? Tree: It’s about professionalism within the industry and pushing a few boundaries – specifically regarding diversity.

Shakyra: As a group, we don’t just look at Spotlight actors. We want to find new people coming into the industry - kids who want to be actors, but they’re not going to a stage school, they’re not from a background where mum would be able to pay for ballet lessons.

Andrea: We’re also there to help each other, to share information with each other, whether it’s about “I’ve got a problem with a contract”, or “Hey, I found this really great girl, you ought to meet her, I hear you’re casting this”.

What advice would you give to actors starting off in the industry?

T: They need to understand the business side.

Because currently we’re finding a lot of actors aren’t turning up to their castings. Every actor who doesn’t turn up takes a place from an actor who will turn up, and it’s losing someone else a job.

A: Make sure you’ve got up-to-date photographs, CVs and showreels.

How can an actor stand out at an audition and get noticed?

T: Be prepared: learn your lines and deliver.

S: Commercials can be 30 seconds or less.

There’s no chance for you to mess that up.

You’ve got a seven-minute slot with us, you have to come in and do a job.

What specific skills are needed to perform in commercials?

T: To deliver immediately. Usually you’re not playing someone that far away from you, so personality is key. I don’t want loads of

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How do you get people away from using stereotypes?

S: You may be surprised about how many times clients agree to our suggestions. I worked on a film and there were 36 characters and only two of these were women. I had a quiet word with the director, saying: “That social worker, the judge, can we think about them being female?” And he agreed. There was also one character which was described as an ‘Irish underground street-fighting boxing manager’, and I said “What would be great is if we could give this role to a real character actress” and they ran with it because the female producer made that happen. My job isn’t just about bringing the right people to the table; it is part of the creative process.

questions asking about the character: with commercials you’re selling a product.

S: The questions should be “What’s my shot?” or “What eye-line do you want me to have” and nothing more, there is very little space for character development.

Do you have any tips for actors on how to deal with rejection?

T: I say this to actors a lot – because I used to be an actress and understand – when you walk out the room, let it go.

S: And know that casting directors brought you in because we think you are the one who’s going to get a job, we don’t bring anyone in as a random, because it reflects badly on us.

Why did the CDA launch the UK’s first ever award to honour the casting director?

T: It’s about raising awareness of casting directors in the industry. I have said for years: “Why don’t casting directors get an Oscar?

Why don’t they get a BAFTA?” The wardrobe gets it, the art department gets it, so why not casting directors?

A: We are celebrating the art of casting, the skill and the creativity that’s involved in it - and the business side as well.

What was the motivation behind the CDA Diversity Award?

S: It was Casting Networks that wanted to sponsor the award, and they came up with a few ideas for awards, and diversity stood out for all of us. That awareness needs to be raised within the industry, from the level of the writers right through to the top creators.

T: We often get a script through and we ask the producer “Can we broaden this out? Can we

The CDA want physical changes to casting suites to allow better access and for advertising agencies to write inclusive material

www.equity.org.uk

How can the Manifesto for Casting help improve equality and diversity?

T: Major organisations are aware of, and support, the Manifesto. What we really need is the advertising agencies to write inclusive casting. We can influence so much from our end, but we need the people who are writing the spots to be very inclusive. However, I think the more of us that are asking for it, the more they’re going to be including everybody. I think the Manifesto helps with this awareness. I know that commercials are so powerful – they get into everybody’s living room and the more inclusive casting we can have, the more society will accept diversity as a whole, and that is so important.

A: So many people do casting now, the industry has exploded in the last 20 years. So it’s great that Equity’s Manifesto sets out your blueprint for ideal practice. It comes back to why the CDA is important – we’re here to help new casting directors and to uphold professional values.

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TUC CONFERENCE

Part of the movement: Councillors Emmanuel Kojo, Mary Lane and Adam Burns, left and above. Right, Councillor Jean Rogers celebrating her TUC award with members of the Brighton & Sussex branch and Equity’s TUC delegation. Opposite, General Secretary Christine Payne

Together we are stronger Equity gave, and received, support from its fellow unions on a wide range of issues including Universal Credit, Brexit, the closure of live entertainment venues and Grenfell Tower Photography Andrew Wiard

T

he TUC Congress is the annual meeting of the UK unions. It is where the trade union movement decides its priorities, and how to act on them, in the following 12 months.

Representatives put forward and vote on motions. Equity sent a delegation comprising of General Secretary Christine Payne, deputy for the general secretary Stephen Spence, policy development officer Louise McMullan and Councillors Mary Lane, Adam Burns, David John and Emmanuel Kojo to the

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conference. Councillor Jean Rogers and members of the Brighton & Sussex General Branch also attended on the Tuesday.

On the Sunday evening, Christine Payne spoke to a Composite Motion, which included Equity’s Motion on Brexit asking Congress to lobby for fair treatment of EU nationals and Irish workers post-Brexit.

The General Secretary said: “Creative workers are highly skilled – but – because of their unpredictable income and working patterns they do not always fit neatly into

Home Office criteria for the existing visa regimes, let alone the possible future regimes under Brexit.

“Alongside the other unions involved in this debate we call on the government to secure the future of EU workers living in the UK.” The Motion passed.

Emmanuel Kojo seconded the Musicians’ Union’s Motion on the Convention on International Trade in Endangered Species.

He said: “This may seem on the surface to be quite a niche issue. However, for musicians the

ability to transport instruments across borders for the purpose of touring is an essential part of being able to do your job and earn a decent living.”

Adam Burns spoke to another Composite Motion on Monday that included an Equity addendum about holiday pay rights. He stated: “Freelance workers must not be denied employment rights and our right to rest,” and critiqued the recent Taylor Report, stating its recommendations “if implemented would undermine the rights of atypical workers.”

On Tuesday morning, Mary Lane proposed the union’s Motion on Valuing Entertainment Workers, asking Congress to support unions working in the entertainment sector (for example, through lobbying for a licensing law

Councillor David John gave a speech about the effects of Universal Credit on Equity members

framework, exposing exploitative agents and lobbying the government to recognise the right of self-employed workers). The variety councillor said: “We need help to campaign against the closure of live entertainment venues threatened by developers wanting to turn them into luxury flats and for the Agent of Change to be fully incorporated into planning laws.” This motion also passed.

Louise McMullan seconded the Artists Union of England Motion on the 1% for Art Scheme, stating: “The motion speaks to the need we have as a movement to reclaim access to art for working people. ‘Yes, it is bread we fight for, but we fight for roses too’ is not just a pretty song, it is the expression of a right that we as working people have to enjoy the good things in life, beyond our basic needs.”

David John seconded the Public and Commercial Services Union’s Motion, giving a speech about the effects of Universal Credit on Equity members. He explained: “Universal Credit in its current form clearly does

prejudice the self-employed and we are a long way from parity of treatment,” due to the policy’s use of a minimum income floor (MIF).

“We need to call for the MIF to be abolished,” he said, “it is harming our work force and is increasing work poverty levels”.

There was a tribute at TUC Congress to emergency and public sector workers who had been involved in the major incidents which have troubled the UK this past summer, including the London Bridge and Manchester Arena attacks, and the Grenfell fire. Stephen Spence spoke on the Fire Brigades Union’s Motion considering the latter, commenting “Whether in their workplace or in their homes, arts and entertainment workers need firefighters… The UK is the fifth largest economy in the world. Don’t tell me we cannot afford it.”

On Tuesday afternoon, Equity Councillor Jean Rogers became the first Equity member to ever receive the TUC’s Women’s Gold Badge.

TUC General Secretary Frances O’Grady gave a tribute to Jean. She said: “Jean has done incredible work with Equity, campaigning for everyone in the arts, and challenging unfairness, particularly the double discrimination faced by older women in acting.

She’s a much-loved member of the TUC Women’s Committee, and we’re lucky to have her fighting our corner.”

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Member offers

In 1882, the great actor manager Sir Henry Irving founded the Actors’ Benevolent Fund with a promise to help actors, actresses and stage managers experiencing hardship due to accident, illness or old age.

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

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

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

Scotland-based photographer Aly Wight is offering a 10% discount off headshots and location shots to members, see www.alywight.com

phoenix artist club Equity members get 50% off annual membership, at this private members’ club and licensed bar for professionals in the entertainment industry and their guests, open Mon-Sat 10.30am-2.30am (last entry 1am). Hot food served in the brasserie until 9.30pm. Sunday open 12 noon – 1.30 am.

Entertaining entertainers since the eighties, this “jewel in the ground”. Annual membership is £200 reduced to £100 on presentation of your paid-up Equity card.

Join online or phone the club during the day. Located beneath the Phoenix Theatre, 1 Phoenix Street, Charing Cross Road, London WC2H 8BU. Tel: 020 7836 1077, www.phoenixartistclub.com

rex restaurants Chris Corbin and Jeremy King are keen supporters of the theatre and they have arranged for all members to receive 10% off any bill at their London restaurants.

These are: The Wolseley, The Delaunay, The Counter at The Delaunay, Brasserie

Special offer

hair removal Pulsar-permanent hair removal and skin treatments. Pigmentation, spots, photorejuvenation and more. IPL-intense pulsed light therapy. More advanced than laser: never shave again. For men and women – all skin and hair types. 10-20% discount for Equity members. Minimum fee applies to house visits. Contact Dr Succar on 020 8848 8288 or www.natura.org.uk

ping pong Ping Pong is offering Equity members eating at their dim sum restaurants 15% off their total bill. www.pingpongdimsum.com

photography HCK Photography is offering Equity members headshots/publicity shots for £95, a saving of £155. . For more information contact Kit at: 020 7112 8499. www.hckphotography.co.uk/equityoffer

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

stage newspaper Equity members can have 10% off an annual subscription. This is available on both print and digital editions. Go to the website: http://subscriptions.thestage. co.uk and select the version you require.

Remember to include the code EQUI in the Promotional Code box.

travel lodge

WeAudition/WeRehearse is an online video chat tool that helps actors audition, or find a partner to rehearse or self tape with, from home. The website is offering Equity members 50% off by signing up and using the code EQUITY50. at www.weaudition.com/union

Registered charity number 206524

q-park

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

The rates represent a 15% discount across the day with a special flat rate of £6.00 for London parking from 6pm to 2am. To take advantage of the Equity discount you need to pre-book your parking. Follow this link to do this: www.equity.org.uk/parking

Breeze Yoga Beckenham, Kent BR3 5HZ give 10% discount on all their drop in classes: www.breezeyoga.co.uk Fierce Grace Brixton - Hot Yoga, SW9 9LP, 15% Equity discount is only available in person at reception with valid Equity card. www.fiercegracebrixton.co.uk Yotopia Yoga and Pilates, Covent Garden, WC2H 9QJ 15% discount on class passes on production of Equity membership card. http://yotopia.co.uk

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

If you are in need of support please visit our website, or call us to find out about how the Fund might be able to help you.

All enquiries are treated in the strictest confidence.

020 7836 6378 actorsbenevolentfund.co.uk

Travelodge offer 5% discount on bookings through their Business Account Service. To register set up an account, go to www.travelodge.co.uk Click on the Login/Sign up button on the top right of the menu. Choose Business and then follow the Sign Up steps quoting Equity as the Business name.

Yoga

weaudition/werehearse

Over a century later, the Fund remains true to that promise.

We can provide grants for:

Supporting the children of actors from birth to graduation Our children are our future and their well-being is of the greatest concern to us.

Actors pursuing their chosen profession face many difficulties but, when they are parents, those problems can multiply...

Juliet Stevenson, ACT Ambassador Some parents seek one-off help. Some families are in touch with ACT for many years.

www.equity.org.uk

• Childcare • SEN Assessment & Therapy • Uniform & Kit • School Trips • Clubs & Activities • Times of Crisis • Sixth Form • Apprenticeship • University Please do get in touch actorschildren.org robert@actorschildren.org 020 7636 7868

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MODELS

Facing

FACTS Eunice Olumide is a supermodel and actress who was awarded an MBE this year for services to the arts. Here, she discusses modelling and why the industry needs Equity Photography Martin Hunter

WINTER 2017

I grew up in the Wester Hailes area of Edinburgh, more synonymous with Trainspotting than the modern tourist trail. Many of the people I grew up with have unfortunately passed away, or have serious social issues that they are still trying to overcome. I did not take up the opportunity to move to London initially because I was so young and my mother wouldn’t give me permission to move. We discussed it and we both felt it was imperative that I had a good education.

Attending university and finishing my education gave me a certain strength of character and grounded me. Since I had neither two parents, nor monetary support, education helped to make me feel like I was capable of achieving my goals and taught me how to cope in a foreign environment.

Pretty much my entire career I never admitted to being a model. People have so little understanding of how the industry works, and since there are so many different types of modelling eg, glamour, lifestyle, fashion etc, it disturbed me that the greater public knew so little of what it meant to be a fashion model. I recoiled at the thought of anyone thinking I was some

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I was first scouted as a model at fourteen. It happened at least five times before I gave it a chance. Growing up in Edinburgh, it just wasn’t something I thought of as a credible career path. I was a total geek and was wrapped up in academia and athletics.

Modelling is a highly rewarding industry but it takes a huge amount of resilience to become established.

Eunice believes there has been a positive shift in the modelling industry and is encouraged by CondĂŠ Nast hiring African diaspora publishers such as Vanessa Kingori and Edward Enninful

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MODELS

It is essential for models to unionise because we are often exploited. The industry needs to recognise that the product is a human being” sort of glam queen with an easy life. In reality, you are only as good as your last job and the work pace is gruelling no matter how much fun or how well paid the job is. Over the years I have taken a step back from modelling largely because of agents with unsympathetic attitudes. Bookers just couldn’t understand that I didn’t want to advertise certain products that I deemed harmful.

I adore the late Coco Chanel. She was unorthodox and unashamed in everything she did. This is what I love about fashion. I just love the revolutionary and inspirational aspects of it, not following the mundane. I left the industry but started working again a few years ago, joining Vivienne Westwood’s Climate Revolution as well as modelling the T shirt she designed, alongside Peter Capaldi, to support the junior doctors campaign. I’ve realised that as I am established, I could now work with brands that I believed in, such as the Illamasqua campaign I shot wearing the Sex Pistols original clothing, Toms or for The Body Shop. The industry has many downfalls but let us not forget that it’s one of the only industries in the West where women consistently get paid more than men to do the same job.

Also, there are very few jobs where you wake up every day and work with a completely different set of people, in a different location. It becomes a lifestyle, a way of living.

There has been a shift in the modelling industry over the past two to four years. It has become more inclusive in terms of skin colour and for alternative looks in general, such as albino or people with skin conditions, which is brilliant to see. Also, large companies such as Condé Nast are at the forefront of hiring African Diaspora publishers such as Vanessa Kingori or Edward Enninful.

This is completely miraculous and a necessity in terms of changing attitudes towards people of colour, which is more than just a few hundred years out of date.

It is essential for models to unionise because we are often exploited. In our industry you are not dealing with an inanimate object; the product is a human being. Agents and photographers really do in many ways have far too much

control over your image and you have little protection if you arrive at a job and they want things from you which go against your core beliefs or were not explained to you in advance to accepting the job. Agents also often give advice in their own interest and not yours. For example, an agent told me I was fired but then backtracked and moved me off the mainboard because I chose to go for an acting role.

I was devastated as it was clear to me that I was being punished for not taking the job they wanted me to do.

It broke my trust and highlighted how unprofessional and unregulated some top agents can be.

I got so tired of being made to feel like my skin was too dark or my hair was too curly. Wearing my hair natural was always really important to me and was practically unheard of ten years ago. As a direct result of my education, I was very familiar with the complexities of colonialism and how they have impacted the psyche of particularly Africans and African diaspora scattered across the world. I knew from a young age that having straight hair was considered ‘good’ and having Afro hair was considered ‘bad’. Had I accepted this I would have had to grow to hate who I really was and I had great difficulty doing that. Refusing to relax my hair meant I was dropped and unsigned over the years for again being ‘difficult to work with’. I never had a problem with my hair being styled for a job but I hated having to ‘Europeanise’ myself to be booked. I also hated turning up to shoots where hairdressers from the length and breadth or the UK and Europe tried to smooth your hair with water spray, not understanding that that made it even more curly. I had to accept that bread and butter jobs such as hair and bridal or hair dressing jobs were simply not obtainable. I mean, can you remember ever seeing a model of African descent on the cover of any bridal magazine, never mind reputable commercial fashion magazines? In my lifetime all of the Afro representations in the UK were of women wearing weaves or wigs, which I found very difficult to digest and fought hard against. This can lead to people booking you less as they feel you have an attitude, reinforcing the typical stereotype of women of colour. @euniceolumide / www.euniceolumide.com

Equity is the trade union for models

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IF YOU WORK AS A PROFESSIONAL MODEL, Equity is the trade union for you.

The union’s Models Network is fighting to improve standards in the industry, so if you have a friend or colleague working as a professional model, encourage them to join. The union is currently

www.equity.org.uk

fighting to recover thousands of pounds for models following the collapse of the high-profile agency FM Models. If you are owed money by this agency, or want further information about the Models Network, please contact Emmanuel de Lange at edelange@equity.org.uk

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R

CAMPAIGNS

The

oyal

Theatrical Fund

Project Diamond results disappoint

CAMPAIGN AGAINST MALE VIOLENCE

Rex Features, Shutterstock

UNION BACKS WHITE RIBBON CAMPAIGN AND ENCOURAGES MEMBERS TO SHOW THEIR SUPPORT ON 25 NOVEMBER EQUITY IS PARTNERING WITH WHITE RIBBON CAMPAIGN UK in the lead-up to 25 November, the International Day for the Eradication of Violence Against Women. The union and the charity will work together to encourage male members to wear a white ribbon on this day, and show their support for this cause.

Founded in Canada in 1991, the White Ribbon Campaign was created by men who wanted to oppose gendered violence, and to encourage other men and boys to stand with women and girls in pursuit of equality.

Recently, the UK branch of this charity has reached out to unions in order to communicate with men directly in their workplace.

Richard Murgatroyd, trade union campaign manager for White Ribbon UK, said: “We believe that the progressive vision of Equity, with its emphasis on equality, solidarity and empowerment, naturally gels with our campaign to end gender-based violence in the workplace and beyond. Although Equity isn’t the largest trade union in the UK it represents workers in a tremendously influential part of society.”

Flip Webster, member of the Equity Women’s Committee, said: “This issue is of particular importance to the Women’s Committee. The stereotyped portrayal of women in the popular media as all too often the victims of violence has a negative impact on both women and men. Equity’s motion to this year’s Women’s TUC Conference emphasised the importance of this issue. Our members are often compromised by these stereotypes in terms of the roles that are available to them.

Writers, commissioners and execs can do much to change this. We hope members of our union will wear the White Ribbon on this day and explain its significance to those that ask.”

Find out more from: www.whiteribbon.org.uk

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THE CREATIVE DIVERSITY NETWORK (CDN) released their first findings from Project Diamond in August. Created by broadcasters BBC, Channel 4, ITV and Sky, and supported by Pact and Creative Skillset, the project was established to monitor diversity within the TV industry, and to provide “detailed, consistent and comprehensive reporting” on this issue.

The report is a - much overdue - first insight into what the TV industry looks like. However, more information is required to understand the nature and extent of under-representation on and off screen.

Information by broadcaster, genre and job role will be crucial to discovering where progress is being made and where greater attention needs to be applied. Without that level of detail the industry will only be held back from the progress all parties want and need to make.

It is disappointing that only a quarter of the returns were made. Equity will build on its Count Me In campaign that asks its members to make sure they are being counted and the union will also work with the industry to make sure that members are receiving the request for their information.

The RTF helps people from ALL areas of the entertainment industry – not just actors and singers – but dancers, stage management, directors, front of house and backstage staff.

If you have worked professionally for a reasonable period of time and are experiencing financial hardship due to sickness or injury, we may be able to help.

London leading

showbusiness accountants - The Stage

Over 50 years of excellence Breckman & Company

Contact us on 020 7836 3322 All applications for help are treated in the strictest confidence.

Chartered Certified Accountants, Registered Auditors

11 Garrick Street, London WC2E 9AR Email: admin@trtf.com www.trtf.com Reg Charity No. 222080

49 South Molton Street, London.

W1K 5LH

95 Ditchling Road, Brighton.

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R O YA L VA R I ET Y C H A R I T Y F O R M E R L Y

T H E

E N T E R T A I N M E N T

A R T I S T E S'

B E N E V O L E N T

Brighton

Notice from Equity

12/09/2012 11:50

F U N D

CELEBRATING OVER 100 YEARS OF CARE FOR MEMBERS OF THE ENTERTAINMENT PROFESSION

Royal Variety Charity, Brinsworth House, 72 Staines Road, Twickenham, Middx. TW2 5AL 020 8898 8164 / www.royalvarietycharity.org / www.royalvarietyperformance.org

MIGHT THE UNION BE HOLDING MONIES FOR YOU FROM THE 1990s?

We are delighted to have reached an amicable resolution of the longstanding problem of how to use the monies received by the

Russian director detained in Moscow EQUITY’S INTERNATIONAL COMMITTEE FOR ARTISTS FREEDOM (ICAF) has joined with other arts figures in expressing concern about the treatment of theatre director Kirill Serebrennikov. ICAF’s Chair Rosamund Shelley said: “We support those calling for an end to the house arrest of Kirill Serebrennikov and would urge the Russian authorities to allow him to continue to work.”

www.equity.org.uk

union around 1995 and, known as the “Unknown Funds.”

The Royal Variety Charity assists those who’ve worked professionally in the entertainment industry and are in need of help. The charity strives to support all those, both young and old, who’ve worked on the stage, in the wings, in front of a camera, or behind it, as well as all those who have spent their lives working in the numerous support industries dedicated to entertainment.

The Royal Variety Charity owns and manages its own residential and nursing care home for entertainers, Brinsworth House in Twickenham, and also offers a nationwide grant scheme to assist those living in their own homes wherever they reside in the UK. The Royal Variety Charity not only offers support to those who have found themselves struggling as a result of ill health, financial hardship or old age, but also to the dependants of all those who have served the entertainment industries.

To request a brochure or to arrange a visit to Brinsworth House, or simply to be added to our Admissions waiting-list, please contact Sheila Powell on 020 8898 8164 ext 207 · sheila@royalvarietycharity.org The Royal Variety Charity are the organisers and beneficiaries of the annual Royal Variety Performance... now viewed by over 152 million television viewers worldwide.

An important part of the resolution is that Equity undertakes to meet the claim of any members or non-members who believe and can produce evidence to show that the Union received residual payments due to them in respect of their performance in independent TV productions retransmitted before about 1998 and that those residuals were not passed on to them.

Therefore, if you or your agent wish to make a claim you should contact the General Secretary of Equity on

0207 379 6000

Patron HM The Queen · Life-President Laurie Mansfield · Chairman Giles Cooper · Est 1908 · Reg Charity No. 206451

www.equity.org.uk

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Letters...

THE PRESIDENT WRITES

I’VE BEEN TRAVELLING A LOT recently, on your behalf.

And at your expense, of course. Never business class, to reassure you, and I was out of the country already anyway, so that saved a bit. On my honeymoon actually, but enough of that...

I spent three days in Los Angeles, first of all hosting an evening event for the industry. Agents, casting directors, reps from the studios and so on; we are in the

give the union; they wanted to be activists, so a result... more than two hundred members were there.

Then I flew overnight to Warsaw to attend a three-day EUROFIA Conference.

To explain, FIA (Federation Internationale des Acteurs) is the international organisation to which unions such as ours, and SAG/AFTRA, American Equity and the Canadian, Australian, South American, Japanese and European unions belong.

It helps us coordinate action across borders in an increasingly supranational industry, and we learn ‘best practice’ from each other. The Warsaw meeting was for the European unions.

Day one concentrated on dancers, a section of the membership who often work abroad where language differences are of little consequence, focusing in on the Dance Passport, in place for a number of years, but in need of a bit of a relaunch. We were represented by our dance Councillor, young Nick Keegan... very successfully.

The following two days touched on copyright, and Brexit (natch!).

About ten years ago, I went to my first FIA meeting in Copenhagen. I’d just become a Vice President and was very

I was in LA to speak at the annual gathering of our members who live and work in the US, who pay their dues, and need to feel connected to the Equity family” business of ensuring our members are receiving what is rightfully owed them from such studios, and we need to be a presence in these folks’ professional lives; we met some very good people with whom we need to work.

But, secondly, and mainly, I was there to speak at the annual gathering of our members who live and work out there, who pay their dues, and need to feel connected to the Equity family; I think the speech went down OK; it was a call to action and insisted on the importance of trade unions, and, in particular, our trade union. I was told it was very 1970s! I’m not sure what that means, though it was meant as a compliment apparently.

Anyway, a couple of young members immediately offered any help they could

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green about the gills. I was deeply suspicious of these conferences, thinking they were probably just fun freebies for all involved. My mood wasn’t helped on being greeted in my hotel room with flowers, and with a sumptuous goody bag.

The following morning the Englishspeaking group met, and within ten minutes I realised this was essential.

Wherever our employers want us to work in the world, in whatever country, they must be met with a union agreement to protect both our interests and the interests of the local professionals.

We are not there yet, but only with such international work and campaigning can we get there.

Onward.

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

Give us a no I recently returned from a holiday in Ireland.

Whilst away, I would daily drive to the local village to get WiFi and check for emails. I was delighted to receive one inviting me to a final audition for a supporting role in a major, new musical. There was one problem - it was 5:30pm and I was asked to be in London early the following afternoon.

This, however, was an extremely important career opportunity and as I had been informed there was only one other actor to be seen, I was optimistic about getting the role.

So I booked a morning flight and arrived in the capital hours before my call time. I was greeted and treated with friendliness and great courtesy by everyone I met within the company and after giving of my best, I left late in the day accepting that the outcome was now in the hands of the casting team.

I stayed that night with my daughter, who

lives and works in the city, and from there booked my flight for the next day to return to my wife in Ireland. Rehearsals for the production were to start before my planned return to England. I began, therefore, to make contingency enquiries about flights etc in the event that I was offered the role. Subsequently, I would drive to the village several times each day in order to check emails in the hope that one would arrive with a job offer. I never heard back. I’ve been a professional in the business for more than 30 years and you’d think I’d be hardened to such treatment but this has been a most upsetting event.

Being a jobbing actor, the £500+ I spent on flights, trains, tubes and petrol was an investment in my career and I accept, without equivocation, the decision not to offer me the role but given the lengths and cost I went to in order to provide a casting option, surely a one line, “Thanks for attending the audition but we will not be offering you the role,” is not too much to expect?

Michael Christopher

Sophie Partridge Following the passing of Sophie Partridge, a passionate and talented member of Equity’s

Deaf and Disabled Members Committee (DDMC), here is an extract from the eulogy written and read by DDMC member Mik Scarlet at Sophie’s funeral.

“Some people come into your life and they bring laughter. Some bring wisdom. Others creativity or warmth or support. Some bring friendship, some a sense of fun and excitement, others a sense of ease, they’re just nice to be around. Sophie Partridge brought all of these things, and so much more. She was a gifted actor, who could play drama, tragedy and comedy with equal skill. Boy, could she write!

Her work as a writer for Disability Arts Online showed how review and comment should be done, and her creative writing was second to none. Sophie was a natural performer, but was also a generous one. She was joy to perform with, and I count myself lucky to have done so on several occasions. I was lucky to witness Sophie discover the joy of playing music live, when we worked on the Sonic Vistas project. We recorded a song which we sang together, and had a wonderful time doing so. She went on to play music professionally which I know she loved doing. She was an all-round talent, and whatever she applied herself to she shone brightly.

While her talent was immense, she meant so much more to all who knew her. Her warmth and love made all who knew her feel a little

better about themselves and the world that had Sophie in it. She could cheer you up with a look, put you in your place with another. But she wasn’t just a talented wonderful friend. She was a passionate campaigner who wanted to build a better world for all. She inspired many of us to get out, get active and to make our voices heard, which she did so eloquently.

Many of my circle of friends met Sophie for the first time at my 50th birthday party, and despite only meeting her once in amongst some drunken revelry, all of them have been heartbroken to hear of her passing. That was the effect of Sophie Partridge. She touched all who met her, and she leaves the world a lesser place without her in it. Moreover, Sophie’s creative talent and passionate work for a more equal society means her loss has a massive impact on those who never knew her. I know I will miss her so much and that despite Sophie being, as she herself always reminded us all, pixie-sized, the hole she leaves in all of our lives is immeasurable. Thank you Sophie, for being in my life, for being in all of our lives. We love you.”

Sophie’s family have thanked Equity and the DDMC for their wishes and support during this difficult time. The DDMC will carry on with its drive to make the creative arts a more inclusive and diverse place in her name.

The Deaf and Disabled Members Committee

In memoriam With regret it is recorded that since the publication of the last edition of Equity we have learned of the deaths of the following members: Herbert Alsen-Murke, Rob Anker, John Appleton, Peter Austin, Richard Bailey, Trevor Baxter, Emile Belcourt, Hywel Bennett, Lee Blakeley, Anthony Booth, Dagmar Braun-Hermann, Jill Britton, Georgia Burke, Glen Campbell, Jon Campbell, J D Cannon, Julian Caruso, Charlotte Casey, Mary J Chapman, Mary Chappelle, Rosemary Clooney, Barbara Cook, Phyllis Cornell, James Coyle, Bernard Culshaw, John Dalby, Bill Dana, Danny Daniels, Helmut Dantine, Ivor Lee Davies, Elizabeth Dawn, Barry Dennen, Anton Dermota, Liz Digby-Smith, Toni Eden Avril Ellis, Thomas Gilbert Fenwick, Richard Findlay, Julian Forbes, Sir Bruce Forsyth, Anne Freeman, Al Freeman Jr, Barbara Gee, Steven Geller, James Gill, John Gordon, John C Gordon, John Gray, Helmut Griem, Robin Griffith, Ameral Gunson, Richard Haines, Sir Peter Hall, Robert Hardy, Tony Hayes, Rosetta Hightowe, Ilse Hollweg, Elisabeth Hongen, Kristine Howarth, William Hoyland, Damian Hutchinson, Erik Jack, Charles Jagger, Georgette James, Ann Jellicoe, Yvonne Jose, Reeves, Naseem Khan, Beryl King, Bobby

Knutt, Al Kozlik, Helmut Krebs, Erich Kunz, Sylva Langova, Donald Layne-Smith, Sandie Lee, Noreen Leighton, Jerry Lewis, Emmy Loose, Maca The Caller, Liz MacKean, Elsa Martinelli, Groucho Marx, Matt Mattox, Johnny Maxim, Audrey Maye, Louella Michie, Jeanne Moreau Alexander Morrow, Patricia Mort, Alfred Muzzarelli, Rosemary Neil-Smith, Michael Neville, Robert Nield, Monica Nordquist, George Thomas Norrington, Patrick O’Connell, Frederick O’Neal, Alan J Osman, David Palmer (i), Ljubomir Pantscheff, Hildy Parks, Ilse Pausin, Alita Petrof, Mirto Picchi, Peter Plouviez, Albert Popwell, Simon Raverne, Matthew Roberton, India Russell, Sandi Russell, Helmuth Schneider, Paul Schöffler, Irmgard Seefried, John Shearer, Bill Shirley, Frank A Silvera, Hilda Simms, Kenny Smith, Rosalie Sorrels, Juliette St David, Rita Starr, Randy Stuart, Italo Tajo, David Topham, Ron Travis, Constance Wake, Larrington Walker, Emmett ‘Babe’ Wallace, Michael Ward-Alle, Debbie Watling, Ludwig Weber, Tony Whelan, Arthur B White, Reginald Whitehead, Benjamin Whitrow, Don Williams, Howard Witt (i) not David William Palmer

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

Malcolm Sinclair

www.equity.org.uk

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BRANCH UPDATE

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

Find your local branch at www.equity.org.uk/branches scottish variety Date of next meeting: AGM 8 Nov. Contact: Linda Rifkind, l.rifkind@btinternet.com

south wales variety Date of next meeting: First Tuesday of month, 7.00pm. Tyn-y-Twr Tavern, Baglan SA12 8AU Contact: Shelli Dawn, 01685 812779

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

thames variety branch Date of next meeting: AGM 20 Nov, 5pm.

Equity, Guild House, Upper St Martins Lane, London WC2H 9EG Contact: Nick Putz, 020 8808 3802, nickputz@gmail.com

Mancunian Way

west of england variety

MANCHESTER & DISTRICT VARIETY BRANCH GO THAT EXTRA SMILE

Date of meeting: TBC. Inn on the Green, 2 Filton Road, Horfield, Bristol BS7 0PA Contact Mary Lane, 07900 848003 cllrmlane@equity.org.uk

brighton & sussex general The Manchester and District Variety Branch celebrated Equity’s Year of Variety on 31 July with a soiree attended by the Lord Mayor of the city.

The evening was filled with bubbly, canapes, live music and entertainment, as members, friends, family and local dignitaries marked the 50th anniversary of the Variety Artistes’ Federation

birmingham variety Date of next meeting: AGM 29 Nov, 7.30pm. Austin Sports and Social Club, Longbridge, Birmingham B312SF Contact: Alec Powell, 07831 115448, alec@alecpowell.co.uk

blackpool variety

Bernadette Delaney, Hugh Burden

Date of next meeting: First Tuesday of the month, 1pm. Blackpool Cricket Club, Stanley Park FY3 9EQ Contact: Denis Askham, denisaskham@yahoo.com

coventry & leicester variety Date of next meeting: AGM 20 Nov. TBC Contact: Sheila Payne, sheila.rodgers@btinternet.com

east anglia variety Next meeting: 13 Nov, 8pm. The Canary Club,

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becoming part of Equity.

The branch also gathered in coaches on 23 October for their annual trip to Blackpool.

This has been established as a tradition for a number of years, but this time members saw the excursion as an “extra special” day, and another opportunity to celebrate variety in 2017.

Norwich NR11RT Contact: Peachy Mead, peachymead@f2s.com

east midlands variety Date of next meeting: First Tuesday of the month (excl August). The Headstocks NG6 8SF Contact: Clive Bumstead, 07815 951798, clivebumstead@yahoo.com

humberside variety branch Date of next meeting: AGM 6 Nov, 7.30pm.

Henry Vernone Court, Pier Street, Hull HU1 1UZ Contact: Christie Clifford, equityvbn4@msn.com

merseyside variety Date of next meeting: Second Monday of each month, 7pm. Adelphi Hotel, Ranelagh St, Liverpool, Merseyside L3 5UL Contact: Chris Dale (Chair), 07703 301621

manchester & district variety Date of next meeting: 21 Nov, 7.30pm.

Monroe’s Hotel, Manchester M1 2PF Contact: Yvonne Joseph, vonniegerry@btinternet.com

Date of next meeting: First Saturday of the month,10.30am. Friends Meeting House, Ship St, Brighton Contact: Chris Webb, 07973 465154

cardiff & s wales general Date of next meeting: TBC usually First Thursday of month (excl. Aug), 7.30pm.

The Sherman Theatre, Cardiff CF24 4YE Contact: Philip Rapier, philip.rapier@hotmail.co.uk

central england general Date of next meeting: 11 Dec, 7.30pm.

The Wellington Ale House, Bennetts Hill, Birmingham. Contact: David Edgar, davidedgar@gmx.co.uk

devon & cornwall general Next meeting: 12 Nov, 2pm. Ashtorre Rock, Old Ferry Road, Waterside, Saltash PL12 4GT Contact: Nigel Howells, equitydevonandcornwall@gmail.com

dorset general Next meeting: 16 Nov, 7pm. Wessex XF Studios, Dorchester.

Contact: chris-gallarus@hotmail.co.uk

east of scotland general Date of next meeting: 26 Oct, 7pm. The Founders Room, Festival Theatre, Edinburgh EH8 9FT Contact: Catriona Joss, eastofscotlandequity@gmail.com

essex general Date of next meeting: 4 Nov, 11am.

Trinity Methodist Church, Chelmsford CM1 2XB Contact: essexequity@deemardi.com

gtr manchester & region Next meeting: AGM followed by meeting.

TBC Contact: davidcockayne@hotmail.com

bristol & west general Date of next meeting: See Branch Website for details Contact: equity. bristolwestgen@ googlemail.com

north east variety Date of meeting: Contact: Last Tuesday of the Month (excl. Dec). The Alberta Social Club, Railway Street, Jarrow, Tyne & Wear Contact: Steve McGuire, 0120 723 8258, sirstephen2001us@yahoo.co.uk

n&w yorkshire variety Date of next meeting: Third Monday of the month, 7.30pm. George 4th Pub, Birkenshaw BD11 2AH Contact: Valerie Jean Mann, val@mrstipsy.co.uk, 0113 285 3848

www.equity.org.uk

isle of man general Date of next meeting: TBC. The Archibald Knox Inn Meeting Room, Onchan Contact: colyn@colyn.co.uk

kent general Date of next meeting: AGM 1 Nov, 5pm.

The Quarterhouse Theatre, Mill Bay, Folkestone CT201 BN. Contact: Marie Kelly, 07703 207878, kellygreenproductions@hotmail.co.uk

liverpool

& district general

Next meeting: AGM 1 Nov, 6.30pm.

Everyman Theatre, Hope Street, L1 9BH Contact: Sheila Jones, equityliverpool@ gmail.com

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

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

ne of england general Date of next meeting: TBC Contact: Steve McGuire, sirstephen2001us@yahoo.co.uk

north & east london general Next meeting: 11 November, 10.30am. The Arts Theatre, Great Newport St, WC2 Contact: Karen Singer, nel.equity@gmail.com

north west london general Date of next meeting: 5 Nov, 11.30am.

Royal Central School of Speech and Drama Contact: Elise Harris, elise@eliseharris.com

north wales general

northern ireland variety Date of meeting: Contact: Equity Variety Branch dinner has been changed to Friday 24 November 2017 at 7.30pm in The Dockers Club, Pilot St, Belfast. Ticket Price is £20.00 Contact: Roxanne James, 07504958324

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

Date of next meeting: 1 Feb, 2018.

Llandudno Contact: wales@equity.org.uk

Bristol Fashion The Bristol and West General Branch is currently celebrating its 10th anniversary and was born out of a campaign against Bristol City Council arts cuts. The group is still one made up of staunch activists, as they find themselves once again fighting

cuts, and one that wishes to engage members from all over the South West England area. The inviting branch has held outreach meetings to local towns, to help creative practitioners outside of Bristol get involved in local campaigns.

oxfordshire general Date of next meeting: AGM 22 Nov, 7.30pm.

Friends Meeting House, 42 St Giles, Oxford OX1 3LW Contact: equityoxfordshire@gmail.com

south & se london general Next meeting: 21 Nov, 7pm. The Actors Centre, 1A Tower St WC2H 9NP Contact: Paul Valentine, equitysselondon@gmail.com

WINTER 2017

2017 CHRISTMAS CARDS ON SALE NOW

CONTACT EQUITY

The Actors’ Benevolent Fund supports actors and stage managers experiencing hardship owing to illness, injury or old age. We provide practical and emotional support, and offer modest financial grants to give a little back to those who have given so much to the profession.

Buying our Christmas cards helps to support our vital work.

HEAD OFFICE: Guild House, Upper St Martin’s Lane, London WC2H 9EG Tel: 020 7379 6000 Email: info@equity.org.uk Web: www.equity.org.uk

by Jeremy Swan 2017

Steps, Girls, Steps!

Original painting used by kind permission of the artist. © 2017 Grant Cathro

by Grant Cathro 2017

EQUITY OFFICERS: Malcolm Sinclair: President Ian Barritt: Vice President Maureen Beattie: Vice President Bryn Evans: Honorary Treasurer

Dashing Through The Snow

CHRISTMAS CARD SHOP

TRUSTEES: Judi Dench, Roy Hudd, Ian McKellen, Timothy West, Penelope Wilton, Johnny Worthy EQUITY STAFF Telephone: To call a member of Equity’s head office dial 020 7379 6000 and at the prompt press the asterix and dial the three figure extension in brackets after the relevant name below.

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

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

Deputy for the General Secretary, Industrial and Organising (133)

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

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

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

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

COMMUNICATIONS & MEMBERS SUPPORT Matt Hood Assistant General Secretary (168) Phil Pemberton Head of Communications, Department head (111) Louise Grainger Marketing and Training Officer (114) Alan Lean Tax and Welfare Rights Officer (157) Emma Cotton Tax & Welfare Rights Organiser (151) Martin Kenny Legal Claims Referral Officer (125) Amy Dawson Students Scheme and Events Coordinator (169)

Our Christmas card shop at 6 Adam Street, London, WC2N 6AD is open from 10.00am – 3.30pm every Tuesday, Wednesday and Friday from 5th September – 15th December. You can also buy cards on our website, www.actorsbenevolentfund.co.uk, or at St. Paul’s Church in Covent Garden.

1. DASHING THROUGH THE SNOW

SOUTH EAST OFFICE Jamie Briers South East Organiser Equity, Upper St Martin’s Lane, WC2H 9EG TEL: 020 7670 0229 EMAIL: southeastengland@equity.org.uk

2. STEPS, GIRLS STEPS!

by Jeremy Swan Inside:

by Grant Cathro

Season’s Greetings A5 (148 x 210mm)

Card image depicts pantomime characters running from the Grosvenor café to a theatre, text bubble reads ‘Ladies and gentlemen, this is your five minute call’ Inside: Season’s Greetings

SCOTLAND AND NORTHERN IRELAND OFFICE Lorne Boswell Scotland and Northern Ireland Adam Adnyana Organisers Equity, 114 Union Street, Glasgow G1 3QQ TEL: 0141 248 2472 EMAIL: scotland@equity.org.uk

northernireland@equity.org.uk

£5.50

A5 (148 x 210mm) £5.50

NORTH WEST OFFICE: Max Beckmann North West Organiser Express Networks, 1 George Leigh Street, Manchester M4 5DL TEL: 0161 244 5995 EMAIL: northwestengland@equity.org.uk

3. THE MUSICAL ANGEL

by Impress Publishing Inside: Happy Christmas 125mm x 170mm £5.00

NORTH EAST OFFICE: Matt Clarke North East Organiser Express Networks, 1 George Leigh Street, Manchester M4 5DL TEL: 0161 244 5995 EMAIL: mbeckmann@equity.org.uk

5. LOVE AND JOY

4. THE THREE SHIPS

by Nancy Carroll Inside: Season’s Greetings 104mm x 147mm £5.00

by Sandy Wilson Inside: Season’s Greetings A5 (148 x 210mm) £5.50

WALES AND SOUTH WEST OFFICE Simon Curtis Wales & South West Organiser Equity, Transport House, 1 Cathedral Road, Cardiff CF11 9SD TEL: 029 2039 7971 EMAIL: wales@equity.org.uk southwestengland@equity.org.uk MIDLANDS OFFICE: Ian Bayes Midlands Organiser Equity, Upper St Martin’s Lane, WC2H 9EG TEL: 020 7670 0232 EMAIL: midlands@equity.org.uk EQUITY MAGAZINE EDITORIAL Phil Pemberton TEL: 020 7670 0211 EMAIL: ppemberton@equity.org.uk

Love and Joy

by Nancy Carroll 2017

The Three Ships

by Sandy Wilson 2017

EQUITY MAGAZINE PRINTING Jeremy Littlestone at TUInk TEL: 07810 825970 EMAIL: jeremy@tuink.co.uk

Original painting used by kind permission of the artist. © 2017 Nancy Carroll

Original painting used by kind permission of the artist. © 2017 Sandy Wilson

6. THE STAGE

by Barbara Peirson Inside: Season’s Greetings 165 x 165mm £5.00

EQUITY MAGAZINE ADVERTISING: Lisa Ottway, Sales Manager, Ottway Media Solutions TEL: 07958 046 147 EMAIL: lisa@ottwaymediasolutions.com Publication of an advertisement does not imply any form of recommendation.

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

7. WE OPEN IN VENICE

by Helen Cotterill Inside: Season’s Greetings 165 x 165mm £5.00

8. BARGAIN PACKS Selection of cards from previous years £3.00 per pack

COURTS JUDGMENTS LIST We have recently published our Court Judgments List which replaces the Special Attention List and is available to all members in the Members Only section of our website. If you would prefer a paper copy please call 020 7670 0225.

The Stage

by Barbara Peirson 2017

We Open In Venice

by Helen Cotterill 2017 “In memory of Deddie Davies”

Original painting used by kind permission of the artist. © 2017 Barbara Peirson

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WINTER 2017

Original painting used by kind permission of the artist. © 2017 Helen Cotterill

ALL PRICES PER PACKS OF 10

ABF Trading Ltd (registered company number 3589944) is a wholly owned subsidiary of the Actors’ Benevolent Fund, to which it gives 100% of its taxable profits.

LIVE PERFORMANCE HELP DESK 020 7670 0237 RECORDED MEDIA HELP DESK 020 7670 0228

TAX AND WELFARE RIGHTS HELPLINE 020 7670 0223 BULLYING REPORTING LINE 020 7670 0268 EQUITY DISTRIBUTION TEAM distributions@equity.org.uk

Original painting used by kind permission of the artist. © 2017 Jeremy Swan

SUBSCRIPTION ENQUIRIES 020 7670 0207

ACTORS’ BENEVOLENT FUND

break a leg?

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

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

For your FREE Personal Injury Service call 0800 0834967 Complete a claim form at equityinjuryclaims.org.uk Or for more Equity member benefits visit morrishsolicitors.com

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