Ahead of the curve Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020.

This report was prepared by Central for Tonic Theatre

Researched and written by Dr Katharine Low, Senior Lecturer Gabriel Vivas-Martínez, Research Assistant Professor Gilli Bush-Bailey, Consultant. The Royal Central School of Speech and Drama Contents

Introduction 3 1. Headline findings: 7 2. Progress toward Change 9 Royal Shakespeare Company (RSC) 9 Sheffield Theatres 10 Chichester Festival Theatres (CFT) 10 Headlong 11 Leeds Playhouse (formerly West Yorkshire Playhouse) 11 Kiln Theatre (formerly Tricycle Theatre) 12 Almeida Theatre 13 Mahogany Opera Group 14 Royal Opera House 14 New Wolsey Theatre 16 Sadler’s Wells 17 3. Changes in Process and Policy 19 English Touring Theatre (ETT) 19 Gate Theatre 20 Northern Ballet 21 Clean Break 21 Northern Stage 22 Cast 23 National Theatre 23 Expanding on Advance 25 Thinking through Change 25 Making Change Visible 26 Staging Change 28 Further Reading 29 “The Advance Programme in 2014 was ahead of the curve.”

Rachel Tackley, Creative Director, Riverside Studios, 2020.

Introduction

In October 2013 Tonic Theatre embarked upon its innovative gender equality project for performing arts organisations. Working collaboratively with senior staff across a range of leading National Portfolio Organisations (NPOs), the Advance programme set out to address the complex conditions that prevent talented women in the performing industries from rising to the top.

This report has been prepared by a team a distillation of the immediate pledges and from The Royal Central School of Speech and outcomes from 2014 or 2016 (as cohort Drama, Academic Partners on the Advance relevant); programme. The report provides an account of the work of the eleven NPOs committed an updated account of Central’s research to participating in Tonic Theatre’s Advance findings on NPOs’ work since the 2014/2016 Programmes launched in 2014 and continued programmes. with a further nine NPOs in the second, 2016 It should be noted that this report is in many cohort – seventeen companies continue the ways a ‘snapshot’, marking a critical moment work on Equality, Diversity and Inclusion work for the performing arts industry at the end of with Tonic’s current programme Advance 2020. The catalyst for producing a report at Network. this moment is an awareness, and wariness, The objective of this report is to offer: triggered by the as-yet unknown full impact of COVID-19. As Academic Partners for Advance an overview of the NPOs’ initial commitment, our research driver is to ensure that we mark in terms of researching and responding the significant gains in terms of gender equity to specificgender equity issues for their made by the companies up to COVID-19 company; and the devastating closures for the live- performance industries in 2020/21.

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 3 The aim of the report is to: cohorts of companies, 11 theatre companies in 2014 and 9 performing arts companies in recognise and celebrate significant changes 2016; these included opera, ballet and dance made for women working in creative companies. Both Advance programmes freelance roles in performing arts companies covered four stages: since Advance 2014 & 2016; Stage 1 – Preparation: Before beginning ensure that we can take full account of the Advance each organisation was asked to select impact of Covid-19 for women working in full one specific area it wanted to focus on over and part time salaried positions; the six-month duration of the programme. draw attention to the work companies are Examples included a desire to better continuing to develop in the drive toward understand routes for women aspiring to make greater equality, diversity and inclusion the move from assistant directing to directing advances post COVID-19. and whether commissioning models for playwrights better responded to the needs of Our research objectives for this report focus men than women. After selecting their area of specifically on what the NPOshave been doing focus, each organisation worked with Tonic to differently as a result of their involvement with craft a question in relation to it (e.g. “does our Advance 2014/2016; what visible changes current commissioning model suit men better are evident via data capture, and what new than women? If so, what could we do about policies or initiatives have been implemented that?”). These questions would serve as a frame in terms of organisational protocols and through which each organisation would a) professional practices. undertake an investigation into its chosen area, and b) consider how it could change its working It is important to establish the difference practices in relation to what it learned. in Tonic Theatre’s fundamental approach to the development and implementation Stage 2 – Investigation: Responding to the of the Advance programme. Advance was questions the organisations had written, Tonic designed to work directly and in partnership conducted research in collaboration with them with performance companies, fostering and on their behalf, examining how things collaborative approaches to identify and were currently working and where, within that, address key issues: to work from within. barriers to women existed. Tonic then shared Advance worked directly with senior staff in their findings with the organisations. each organisation, enabling people to make time, and to do things better by creating the This step was about the organisations space and ‘toolkits’ needed to make change. enhancing their own understanding and asking ‘why’; it was about them questioning their own The information for this report has been drawn thinking and that of others, and about exposing from publicly available materials and interviews themselves to perspectives and information with individuals conducted during the month of that may previously have been off their radar. December 2020. Over all, it was about them being reflective and listening to others, not about them leading or needing to come up with solutions; that would Background and Context for this come in Stage 3. report Stage 3 – Innovation: Based on the findings Twenty National Portfolio Organisations of the investigation, the organisations explored – that is, companies core-funded by Arts and considered alternative or supplementary Council England (ACE) over a four-year period, ways of working which would go some way providing consistent, large scale financial towards removing the barriers that had been security 1 – participated in Tonic Theatre’s identified. Advance Programmes.2 There were two

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 4 This step was about dreaming up new ways organisations were working with. Consequently of doing things, and of challenging existing it was hard to establish a baseline, or for the preconceptions and the ‘but we’ve always organisations to have an accurate sense of how done it this way’ approach. At the same time, representative or not they were in terms of any new approaches were required to be their casts and creative teams. achievable, realistic, and deliverable within The 2014 cohort agreed therefore to collect the organisations’ already busy schedules and data for the ten year period leading up to the programmes of work. commencement of Advance. Using a simple Stage 4 – Action Plans: By the conclusion of spreadsheet template (referred to as the Innovation, the organisations had identified ‘Gender Tracker’) they captured numbers a range of new actions they would like to of women in their casts and creative teams implement and each produced an action plan and also counted the number of women outlining steps towards making this happen. playwrights whose work they had staged. This process – a new one for many in the The programme also required organisations to: cohort – enabled the organisations to adopt a Participate in Away Days data-driven way of understanding the picture around gender both on their own stages, and Although every organisation was pursuing across the cohort. its own question, their findings were of course of interest to one another, and they The spreadsheet was developed further for were encouraged throughout to share their the 2016 cohort, partly to respond to the wider learning, provide provocation to one another, range of creative roles in play once dance and look for opportunities to create future and opera were factored in, and partly in an collaborations. To facilitate this, Tonic led effort to capture a greater level of nuance e.g. four Away Days over the course of each the difference between numbers of women programme. working on main stages as opposed to studio/ secondary spaces. These brought the lead members of staff from the participating organisations together in a Share their learning with the wider industry focused environment and away from their All organisations participated in a culminative desks, emails and to-do lists. The Away Days symposium (2014 and 2016) where findings, were an opportunity for the organisations to commitments and pledges were shared with come together to: the wider industry. These were jointly planned talk, share progress, make requests of one and designed by Tonic and the Central team another, and feel like peers taking part in a with breakout sessions led by individuals from collective journey; both teams. Hosted by Central in its Embassy Theatre, both events were attended by over participate in joined-up conversations, 200 senior industry figures. Insights into facilitated by Tonic over matters besides their each organisations’ work on Advance were individual areas of focus but relevant to how also made public on a website created to broader change could be achieved across the disseminate the methodology and findings of industry; Advance.

learn about topics such as unconscious The NPOs represent performing arts bias and change management from guest companies across England and it is important speakers. to take into account their differences in infrastructure, scale, and the administrative Commit to data gathering capacity to undertake the gender tracker Early in the 2014 programme it became clear updates (the Advance Programme deliberately that few in the cohort had data to hand about worked with a full range of companies, from the gender of creative practitioners their large scale (including the Royal Shakespeare

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 5 Company, the National Theatre and the Royal Central team is aware that these terms can be Opera House) to small scale (for example read as exclusionary, or mean different things the Gate Theatre and Mahogany Opera) and in different contexts, and the ensuing debates mid-scale (including New Wolsey Theatre, around definitions of gender and identifying Chichester Festival Theatre and Northern markers have significantly shifted since 2014. Ballet). It is not the intention to open this debate here (it is better addressed in many other fora) 3, The full list of companies, their chosen research but rather to support the creation of a space questions, partners and participants can be to consider the lack of opportunity for women found on the Advance Website, including – encompassing everyone who chooses to additional research and background from define themselves as such in the performing the team of academic partners at The Royal arts sector. Central School of Speech and Drama (London) from where the first Advance Symposium In preparing this report, Central’s team have and website was launched (September 2014). primarily worked with the companies who are Central also hosted and contributed to the continuing to be part of the next stage of the second symposium (September 2016). Both Advance Programmes – the Advance Network.4 events received national press coverage This report has only been possible thanks to (notably Guardian’s Lyn Gardner) with their generosity and the enthusiastic response digital platforms (Twitter) and live feeds via of individuals to our enquiries for this report, WhatsOnStage reaching a wider digital audience. at what has been a significantly pressurised To date the Advance website has had over time for the performing arts industry. As 25,500 users since its launch. key partners in the research process, and as stakeholders in preparing future generations This report comprises data from eighteen of of professional performance arts practitioners, the twenty companies, with specific numbers Central’s team share a genuine awareness and from ten companies and commentary on new openness to change, along with a commitment processes from thirteen companies. to pushing forward to greater understandings 1. Headline Findings: a summary of the key of the implications for intersectional equity. numerical data. As project partners our research initiative 2. Progress towards Change: a quantitative for 2016 cohort was to raise awareness of account of the numerical changes. intersectional equity and to draw attention to models for sustainability and longevity. 3. Changes in Process and Policy: a qualitative account of the initiatives with potential The concluding section to this report highlights impact for gender equity. the importance of succession planning as part of NPOs’ research, recruitment, evaluation The data has been gathered from the period and commitment to gender equity and following the NPOs’ involvement in the first the attendant implications for embedding two Advance Programmes until March 2020 intersectional equity and inclusion in our when, following COVID-19, most performing performance industries. arts venues were closed. For the purposes of this analysis online productions, or subsequent in-person productions that may have occurred, Research Report prepared by have not been taken into account. Dr Katharine Low & Gabriel Vivas-Martínez Tonic’s intention for the Advance programme Professor Gilli Bush-Bailey (Consultant) was, and continues to be, to raise awareness The Royal Central School of Speech and about the lack of women in top creative roles Drama (University of London) in the industry and to work for 50:50 gender March 2021 equity. During the Advance programmes, the terminology of ‘women’ and ‘female’ were used interchangeably. As academic partners, the

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 6 1. Headline Findings

As outlined in the introduction, each organisation was encouraged to focus on one particular aspect of its work with women, rather than to seek holistic change. As such, the statistical increases shown below relate to these areas. Although the raw numerical data may only suggest marginal increases for women employed in creative roles, their significance should be read against the following ‘changes in professional practice’, and is best understood through the subsequent individual company narratives which follow, where procedural, operational, and day-to-day production processes offer the deeper context for the significant changes achieved.

Progress towards Change 1 NPO has significantly increased their (statistical increases) employment of female librettists, with a 33% increase in proportion (Mahogany). 4 NPOs have increased the proportion of 1 NPO has increased their employment female playwrights commissioned and of female creatives across the artistic and programmed by 8-28% (Almeida (8%), CFT technical teams by a 14% in proportion (New (28%), Headlong (13%), and Leeds/West Wolsey). Yorkshire Playhouse (12%)). 1 NPO has increased their employment 1 NPO has increased the proportion of of female creatives in set, light and sound female-identifying directors contracted by design teams by a 1.53% in proportion, 22%, and 58% of productions have employed which is significant in terms of the number of a female-identifying assistant director (RSC). people employed (Kiln Theatre). 2 NPOs have regularly achieved 50:50 casting 1 NPO has increased the percentage of and/or increased parts for women (Almeida, female choreographers of productions Sheffield Theatres). commissioned, produced and presented 1 NPO has significantly increased across their stages, with an increase in representation of female creatives, including proportion of 2.80% (Sadler’s Wells). revivals of plays and focussing on female- centred stories (Northern Stage).

1 NPO has increased the proportion of female conductors employed by 6% (ROH/ Royal Opera).

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 7 Changes in Professional Practices – Focus on equality and inclusion as standing item; first question for every meeting (New 13 NPOs introduced new policies or initiatives Wolsey, Gate, Headlong). following their involvement with the Advance programmes, which impacted the following – Changing how meetings are run and areas and experiences: shifting communication strategies across the organisation (NT). – The creation of a new programme to support the creative development of mid- – More equal access/routes into career companies in the North East, most choreographing for female creatives, with of whom are female-led (Northern Stage). the commitment of having a 50:50 gender Almost 70% of people participating in the balance in their new Young Associates NORTH programme identified as women. programme and the aim to achieve gender balance in the Back to the Lab platform – Establishment of a funded artist/talent (Sadler’s Wells). development programme and the establishment of a producer to support – New hiring practices for female-identifying emerging talent, not solely focused on creatives to include: gender but also in terms of access and • New procedures for commissioning disability (CAST). female playwrights (CFT).

– Improving touring experiences for women • An appendix to contracts issued (ETT). to freelance directors outlining the – Developed an embedded practice to expectation that they would assemble increase roles and space for female a diverse, ideally 50:50 creative team choreographers within existing training (Gate). and working practices and the creation of • New recruitment processes to improve new opportunities for female dancers to diversity in staff (Clean Break) (not solely begin developing choreographic practice in gender-related but more broadly to house (Northern Ballet). reflect the company’s main audience/ – More equal access/routes into lighting and participants). sound design (Gate; Kiln). • Creating opportunities to work with – Role-modelling good practice via Youth solely female creative teams, improving Theatre projects targeting potential next gender-balanced auditioning panels generation theatre-industry (i.e. mix- (ROH). gendered creative teams) (New Wolsey).

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 8 2. Progress toward Change

This section of the report offers a precis of each NPO’s initial question, a brief account of the research process tailored to the specific enquiry and, where appropriate, the ‘pledge’ for change made following the initial Advance engagement.5 Central’s team then tracked the progress the company has made and notes demonstrable change.

The 2014 Cohort Since the RSC’s participation in the 2014 Advance programme, they have continued to Royal Shakespeare support their assistant directors through their alumni programme in terms of training and Company (RSC) have significantly increased their employment In 2014, the RSC pledged to investigate the of female-identifying assistant directors, often following question: “What is the ladder of offering contracts for ADs over different shows progression for an assistant director and is it over a year. In terms of numbers: before different for men and women? What can the Advance, the percentage of productions RSC do to change any discrepancy?” As part directed by female directors was 27.39%. In the of their research with Tonic, the RSC met and years following Advance, the percentage is 50%, consulted with their alumni Assistant Directors an increase in proportion of more than 22%. and members from the industry to consider the After Advance, the percentage of productions routes into directing and how to engender more with a female assistant director is of 57.99%, favourable conditions for female-identifying and the total percentage of female creatives directors. Through their research they learnt working in directing teams (As Director and that routes into directing have changed, Assistant Director) is 53.90%. As a result, of significant factors such as the economic crash of their participation in Advance, the RSC pledged 2008 has meant the industry is more risk-averse to at least 50:50 gender creative teams and in terms of emerging career directors, a dearth they continue to uphold and work towards of opportunities for freelance directors (as this pledge. The RSC reflected that one of the opposed to in-house directors), the impact of biggest impacts of this policy has been visible ‘in childcare and pregnancy for female-identifying terms of the thinking behind the programming directors. As a result, the RSC re-examined their both in content, context, creatives involved and ‘offer’ for their alumni assistant director and cast’ with a number of ‘female writers under pledged to provide a more holistic experience commission and writing for programming at the RSC with opportunities to widen and across all the houses ensuring women get to develop their skills and to draw from all the write for a variety of scales’ (Birch 2020). different departments at the RSC.

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 9 Sheffield Theatres Chichester Festival Theatres (CFT) As part of the 2014 Advance programme cohort, Sheffield Theatres’ focus was on the Chichester Festival Theatres examined employment of female actors and they set what the organisation can do to support out to research the following question: “We mid-career female playwrights, rather than acknowledge that we have historically focussing predominantly on female creatives employed more male actors than female. In at entry level. CFT pledged to research the programming a balanced repertoire across following question: “There are more women the year what factors need to be in place to succeeding in getting new plays on stage ensure a gender balance in the employment at the entry level of the profession than of actors?” Acknowledging that historically there are at a mid-career level. Is there they employed more male than female actors, a disconnect between early success and Sheffield Theatres researched what factors career progression? If so, what are the needed to be put in place to ensure gender barriers to more established female writers balance in the employment process and the getting their work on larger stages and how balance of role prominence in their production can Chichester Festival Theatre (and other choices. After scanning their past seasons, they regional producing theatres) contribute created an Action Plan that covered a year’s to addressing this disconnect and gender programming and confirmed the necessary imbalance?” Taking inspiration from the steps for achieving gender balance between work that Tonic and the Almeida Theatre male and female actors, both in terms of undertook on the representation of women number, and in terms of range and scope of writers on London stages in 2013 as part of role. These included planning, timeline and the Almeida’s own research for Advance, CFT budgeting. As part of this Action Plan, Sheffield carried out a research process to understand Theatres established the following pledge: “To why there were more opportunities for female employ an equal member of male and female playwrights at entry level, and if there was actors throughout each season and ensure that a disconnection between early success and female roles also have prominence and run career progression within the wider sector, against current stereotypes.” and how they, and other regional producing theatres could contribute to address the After participating in the Advance programme, disconnect and gender imbalance. Jenny 56.86% of Sheffield Theatres’ productions Roberts, on behalf of CFT, carried out employed at least 50:50 male/female cast. interviews with playwrights and literary and Likewise, all their Shakespeare productions artistic associates from within the industry. have had a 50:50 gender balance between Some of the findings included: a production male and female actors, evidencing Sheffield’s house trend in proactively approaching young, conscious choice and work around this new female playwrights rather than focusing commitment. The percentage of female actors on mid-career female playwrights; venues not employed after Sheffield Theatres’ involvement always offering the best support for female in Advance is 45.89% and, as expressed by playwrights; pressure of reaching a certain level the current artistic director Robert Hastie, of success before being programmed on the the balance of gender, on stage and in the bigger stages; and caring responsibilities that stories told, is now part of every programming took priority over work for female playwrights – conversation and a fundamental part of the either through choice or necessity. production processes at Sheffield Theatres (Hastie 2020).

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 10 As a response to these findings, CFT made a female writers who had been commissioned. commitment to commission more work from Post their involvement with Advance, Headlong female mid-career playwrights. A change in have achieved a 50:50 split in commissioning, leadership in 2016 6 placed a greater emphasis which represents an increase in proportion of on inclusion and subsequently the number more than 13% in commissioning plays from of female playwrights commissioned and female playwrights. They have also reported an produced increased exponentially over the next improvement in the communication with all the five years rising from 9% in the period 2003- writers, and especially with female writers. They 2016 to 37.14% in the period 2016-2020. This aim to nurture more artists, including writers, represents an increase in proportion of more and other creatives, and aim towards a fully than 28%. CFT remains committed to achieving intersectional approach. a gender balance in its commissioning and Headlong’s commitment to gender equality fits producing of plays. into their Justice Plan for the company. Written in the summer of 2020, in response to the Black Headlong Lives Matter movement, it continues to be a Headlong set out to question their living, developing document under constant commissioning model, asking if it was designed review and includes considerations on race, to suit men better than women: “Does our disability, and gender, which are discussed and current commissioning model suit men reviewed in the weekly justice group meetings better than women? If so, what could we that they have been holding, demonstrating do about that?” As part of their research, a key move towards intersectional Headlong found favourable gender statistics understandings of equity and practical action. when looking at women employed across the company, but less favourable statistics when Leeds Playhouse (formerly West looking at women taking key roles in creative Yorkshire Playhouse) teams. In their commitment to improving this, they decided to start focusing on improving Leeds Playhouse focused its research on gender balance for writers, putting out examining female-centred stories and surveys to both male and female writers considering how to get more of these onto and to agents, holding discussion groups their stages. Their question was “What do with male and female writers and meeting we mean when talk about female-centred with Literary Managers from several other stories and what are the ways in which we Advance programme theatres. The results of can get more of them on our stages?” They their research demonstrated an industry-wide were interested in questioning clichés and disparity between male and female writers: stereotypical representations of women’s on average, female playwrights write more experiences and how production companies plays, get fewer plays on, and get paid less. It could avoid these when commissioning writers. was also clear that women perceive that they With Tonic’s support, Leeds Playhouse created are treated differently because of their gender an Action Plan with timelines and working (60% compared to just 25% of men). frameworks. The implementation of the Action Plan supported them to establish that ‘female- As a response, Headlong identified key actions centred stories’ mean: female characters to take, including supporting the existing cohort driving narrative – and that narrative, and who’s of exciting female voices to move from the driving it, is a powerful, political choice. studio spaces to main stages, analysing the way that they as a company communicate and work As a consequence of their participation in the with writers on commission, improving general Advance programme, Leeds Playhouse started writer information and first access. In terms of focussing on their recruitment processes for statistics, Headlong had a percentage of 36.84% creative teams and improved their efforts

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 11 to identify and recruit outstanding female the diversity of acting companies, writers directors, designers and writers. They also and directors and the diversity of their wider put in place a three-year action plan for the creative teams. After carrying out internal delivery of new work by female writers and/ research with Tonic’s support, statistics showed or about female protagonists. While there women were underrepresented in design roles is a key differentiation to be made between in creative teams. In Indhu Rubasingham’s an increase in female-centred stories vs. an inaugural seasons, 89% of directors were increase in commissioning of female-identifying female, 45% of writers were female, and 43% playwrights, Leeds Playhouse moved from 21% of actors were female, yet only 9% of set of female playwrights authoring their produced designers were female, although 35% lighting and co-produced pieces in the period between and sound designers were female. 2007-2013 to more than 33% of produced and As a response to these findings, Tonic co-produced work in the period 2014-2018. facilitated conversations between Kiln Theatre That represents more than 12% increase in and the Gate Theatre, The Royal Central female playwrights in their produced and co- School of Speech and Drama, Clean Break and produced work after their involvement in the the Association of Lighting Designers. They Advance programme. It is worth highlighting discussed training opportunities, mentoring that the 2018-2019 season, named the pop-up and access conditions from underrepresented theatre season, in which Leeds Playhouse had groups, and the possibility of sharing resources no visiting productions and all the presented within these emerging networks. Kiln Theatre pieces were in-house produced, facilitated the decided to host annual days of introductory implementation of the action plan created with meetings between designers and their artistic Tonic’s support. In this season, the percentage team, to host workshops including prominent of work by female-identifying playwrights female role models, and to continue to be represented 53.8% of all the produced plays. In alert to opportunities for inviting talent from addition, at present, Leeds’ commissions slate underrepresented groups to be part of their (which has ten productions under commission creative teams. at the moment) is 80% female-identifying artists with 60% of the narratives specifically In reflecting on their work over the past female driven, demonstrating the impact of few years, since their initial participation Leeds’ earlier action plan and revising of their in the Advance programme, Rubasingham recruitment processes. has emphasised that gender is only one part of the picture for the organisation as a Kiln Theatre (formerly Tricycle whole (Rubasingham 2021). Specifically, Kiln Theatre) is interested in better understanding the blockages in the routes into the industry, Kiln Theatre’s work in the Advance programme and in exploring ways to open up a more focussed on how the organisation could better inclusive and equitable pipeline into creative represent female set, lighting, and sound roles, particularly in terms of design and designers in its creative teams. Their question backstage positions. As part of this initiative, was “How can the Tricycle better represent Kiln has focused on different routes into female designers (set, lighting, and sound) technical production, either from drama in its creative teams? Also, both male and schools or through in-house training and/ female, what can the Tricycle do to broaden or apprenticeships. For example in Spring/ the cultural make-up of its creative teams, Summer 2019 Kiln piloted a production now and for the future?” They were also arts scheme where 11 young people from interested in what they could do to broaden underrepresented backgrounds in technical the cultural make-up of their creative teams, theatre were invited in to participate in as Kiln Theatre identified a disparity between a pilot course in backstage and technical

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 12 skills, including lighting, sound and stage can we do to address this?” As part of the management called Act One Beginners (funded research, Tonic looked at every new play given by a private donor). Kiln had established a a full production in a sample of 12 London partnership with Mountview drama school, theatres (Almeida, Bush, Donmar, Finborough, who waived the fees for one of the students Gate, Hampstead Theatre, Lyric Hammersmith, to complete a diploma in Production Arts. In National Theatre, Royal Court, Theatre503, 2021, Kiln has been awarded funding from Tricycle, Young Vic) in the year 2013. For each Backstage Trust to have two resident assistant piece of new writing, Tonic noted the male/ designers on 9-month placements at Kiln, and female character ratio and plotted that against an associate designer (Tom Piper), who with the gender of the playwright. This research Kiln’s Head of Production will mentor the two project showed that across the sample of new designers. plays, of those written by women, 52% of the cast were female and 48% were male. In those In terms of future plans (which currently remain written by men, 35% of the cast were female funding dependent) Kiln aims to create shadow and 65% were male. Tonic’s research also placements in a number of backstage technical showed that a new play by a male playwright and creative roles; to create opportunities for was more likely to be produced on a large young people to ‘try out’ and specifically, to stage and a new play by a female playwright address the issue raised by Kiln’s commitment was more likely to be produced on a smaller to the question: ‘how do we ensure that there stage, a discrepancy that was even more are meaningful and transparent routes into significant within buildings with more than one different positions and creative backstage auditorium. roles’. In addition, Kiln has projected a minimum of 33% of female-identifying creatives In response to these findings, the Almeida’s for their 2021-2022 season. participation in Advance began by studying actions needed to address this discrepancy, During their capital project, whilst the building and considering how, as a venue with a larger was closed,7 Kiln worked with a number of stage, they were contributing to the ‘different community groups all around Brent to produce stages for different genders’ finding of Tonic’s a Mapping Brent Festival of new, original pieces research. Besides their aim to commission an of work. In 2017, Kiln worked with 5 groups equal number of female and male playwrights, and in 2018, there were 6 productions. After they moved on to consider questions around participating in the Advance programme, the parts for women in their commissioning female creatives in Kiln Theatre’s set, light and conversations, including reflections on sound design teams have accounted for 28.66% the playwrights’ creative freedom, onus of of the total number of designers employed in fulfilling quotas and the role of unconscious the period 2018-2020, which is an increase in bias towards creating male characters. As a proportion of 1.53% when compared with the result, Almeida raise the question of female percentage of female creatives employed in characters as an early part of the process of these designing teams during the 2013-2015 commissioning – for both male and female period. playwrights. After their participation in Advance, Almeida has staged approximately Almeida Theatre 30% of plays written by female playwrights, The Almeida Theatre focussed their work on which represents an increase in proportion looking at the numbers of parts written for of more than 8% compared to the 21% of the women and on the commissioning of work by produced work before Advance (in the 2003- female playwrights. Their question was “Are 2014 period). living playwrights writing a disproportionately low number of parts for women? If so, what

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 13 and taken seriously as creators. Other findings The 2016 Cohort included that the majority of ‘gatekeepers’ in For the second iteration of the Advance the opera world, including those involved in programme, the cohort of participating NPOs the commissioning of new opera, are male was expanded beyond theatre alone, to also and relatively homogenous in terms of age, encompass dance and opera organisations. ethnicity, and class background, which means While the companies in the 2014 Cohort were that the decisions are made by a relatively encouraged to focus on creative roles, such narrow group. as performers, directors, writers, designers, in As a response to this work, Mahogany Opera 2016, some companies looked at other areas Group started putting in place internal of importance, such as internal communication strategies to build awareness of diversity into mechanisms, artist and company development decision making across the organisation and and the progression of women into leadership. for becoming more thorough in monitoring those processes. They initiated a range of ‘open Mahogany Opera Group calls’ so they could meet a broader range of artists and started an evaluation process of the Mahogany Opera focussed their research and R&D opportunities that they provided. Finally, work on the Advance programme around they started discussions around how to inspire exploring the available routes for aspiring young girls to consider all professional careers librettists and, in particular, how they could in opera open to them. After the Advance broaden those opportunities and encourage Programme, Mahogany Opera Group increased more women to consider writing libretti. their proportion of female librettists employed Their question was “Where are the female by 33%, going from none to three female opera librettists? What routes are currently librettists employed, out of a total of nine available for aspiring librettists? How can we librettists commissioned. Although no longer broaden these opportunities and encourage an NPO (since 2017), following their decision more women to consider writing libretti?” to focus on working with young people They were particularly interested in exploring (versus mounting three opera productions a how to find and support female librettists as year), Mahogany have significantly increased up until 2016, Mahogany Opera Group had their commissioning female librettists and never commissioned a female librettist. With composers. Tonic’s support, Mahogany Opera Group ran focus-groups with opera-making women, including those who have written opera libretti, Royal Opera House for analysing the existing pathways for people As participants in Tonic’s Advance Programme interested in writing libretti and what might feel in 2016, The Royal Opera House (ROH) focused appealing and accessible to female librettists on enriching the diversity of their creative work and what less so. Tonic also carried interviews and, in particular, on the employment of female with opera ‘gatekeepers’; producers, artistic conductors. The ROH entered the Advance directors, and those involved in training. programme knowing that female conductors Some of the findings included the few artistic were underrepresented across both the Royal and career development opportunities Opera and the Royal Ballet and the ROH for librettists, their ‘junior’ or ‘low’ creative wanted to better understand and respond to status compared to composers, the lack of the obstacles preventing them from working networking opportunities and librettists’ work with more female conductors. Their question not receiving enough attention and recognition. was “Why is it that such a small proportion of In terms of gender-specific findings, Tonic’s the conductors we employ are women? What research found that there are complex issues can the Royal Opera House do to increase regarding how women are viewed in opera the number of women conductors working in

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 14 opera and ballet?” In partnership with Tonic, participation in the Advance programme, the ROH began with a workshop involving coupled with their engagement with other staff across all three of the ROH’s Opera, organisations, the ROH estimates that the Ballet and Orchestra companies, considering percentage of female conductors working with together why so few women conductors were the Royal Opera is approximately 9.3%, which employed. Tonic then followed the workshop represents an increase in proportion of more with a series of interviews with senior members than 6% in comparison to the 2.9% of the of ROH staff, women conductors who have 2013-2016 period. Likewise, the percentage worked with the ROH over the years, and with of female cover and assistant conductors conductors who have not worked with the shows an increase in proportion of more than ROH, in order to examine women’s experience 3% after the Advance programme, moving of beginning, building and sustaining a career from a percentage of 1.6% (2013-2016) to a in conducting more widely. Tonic also spoke 4.9% (2016-2020). It should be noted that the to the Royal Academy of Music and Guildhall relatively low number of female cover and School of Music and Drama, and observed assistant conductors is based on the fact that and surveyed attendees of the Morley College approximately 90% of the assistant and cover Women Conductors workshops for ballet and conductors are members of the permanent opera, hosted at the ROH in 2016. Finally, music staff who are mainly male, only about Tonic’s research received input from Christina 10% of the Assistant Conductors are guests. Scharff, Senior Lecturer in the department As participants in many conversations, of Culture, Media and Creative Industries at alongside research undertaken across the Kings College London, author of Equality & different partnerships, the ROH’s commitment Diversity in the Classical Music Profession to taking action towards increasing the number and whose research interest is Music, Gender of women conductors working in Opera and & Entrepreneurialism, and with The Royal Ballet has resulted in the ROH putting in Central School of Speech and Drama, University place significant changes in processes and of London, their academic partners in the procedures. These actions include ensuring a Advance Programme. gender balance on their auditioning panels and Some of the findings from this research inviting guest female conductors to participate included a greater understanding of the in assessment panels for both courses and different experiences and different routes that auditions. This change has been implemented women take into and through the conducting in the recent Constant Lambert/Jette Parker profession: the potential impact that the lack Young Artists Programme (JPYAP) conductor of visibility can have in fostering aspiration auditions involving candidates working with and ambition for girls and young women; the piano and with a full orchestra over more highly competitive environment for conductors; than one day. The two successful candidates and the difficulties of managing a freelance were one female conductor and one male career alongside family pressures and financial conductor. As part of their proactive search for commitments. They examined their scouting female talent, the Linbury Creative Producers processes, aiming to identify female talent regularly attend concerts specifically to see at every level, nationally and internationally, the work of female conductors. The Director proactively increasing the number of women of Casting is also ensuring that the careers of conductors working within the organisation. female conductors are followed with special Finally, they began conversations about how interest. The ROH now has a female conductors to develop the best possible environment list that is being regularly updated with for women conductors to thrive in, and new talent coming through, including those about increasing the visibility of the female conductors that have participated in conducting conductors working within the ROH. According competitions or through recommendations by to the ROH’s recent estimates, following their agents or colleagues within the operatic world.

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 15 The ROH recently had a female conductor the JPYAP and as work from the R&D is staged, as JPYAP Link Artist (2017-2018), Sonia Ben- will increase opportunities further. In the last Santamaria, further demonstrating their two years, the ROH has also opened their commitment to encouraging and enhancing rehearsals to conservatoire students. Pre- networks for rising young female talent. pandemic, they were starting to plan observer opportunities for women conductors for ROH From their involvement in the Advance productions, an initiative that they plan to programme and in the Advance network, the continue when productions resume. ROH values the sharing of different facilitation dynamics that enable conversations about Equality, Inclusion and Diversity, creating the New Wolsey Theatre space for ‘planting seeds’ that bring about New Wolsey Theatre focused on what change. Fundamentally, the ROH’s aim is about processes and procedures they needed creating a culture of inclusion, having a sense to ensure a mixed-gender environment, of the whole house contributing and working especially in terms of creatives employed. Their together. In terms of new initiatives, the ROH question was “How can we build on what regularly carries out R&D workshops and is we have learnt and achieved through our constantly working to expand its reading and work on disability, so that when we make reviewing panel, drawing on both internal creative decisions we are fully conscious and external assessors in terms of creating of the need to ensure a mixed gender equitable representation on the panel, environment?” Through an established including inviting input from junior ROH staff programme called ‘Agent for Change’ for members. In addition to its long-standing auditing the organisations processes and Staff Diversity & Inclusion Network, in 2020 activity, particularly in regard to disability, additional staff diversity discussion groups have New Wolsey Theatre wanted to use the been established within The Royal Ballet and basis of this work to look at how to affect the Royal Opera companies. Along with attending same change in relation to gender equality. Tonic meetings as part of the Advance Network Although the percentage of female staff in and learning through the experience of other their core workforce was at 48%, New Wolsey’s artists and companies. use of the gender tracker highlighted a clear In addition, the ROH/JPYAP has an ongoing underrepresentation of female-identifying Women Conductors initiative, that has its creatives within New Wolsey Theatre casts origins in the Royal Philharmonic Society’s and creative teams. In order to investigate this Women Conductors initiative. The JPYAP numbers, Tonic Theatre conducted workshops has worked both independently and in and interviews with New Wolsey Theatre partnership with the National Opera Studio staff and gathered academic input to assist in and Royal Philharmonic Society to run informing actions going forward. courses for emerging women conductors in As a result of Tonic’s findings, New Wolsey opera and ballet since 2018 and has used Theatre developed an action for increasing both the Orchestra of the ROH and Chroma awareness across the whole organisation ensemble. Alongside this, The Linbury Theatre around questions of gender. The plan included is connected into the JPYAP conductors filling in a ‘gender representation analysis’ programme and leads on the Engender R&D by those responsible for the creation and programme, a developing network for women programming of new work. These changes in in opera. As plans are made for coming processes and procedures aimed to increase seasons, there is an increased focus on seeking the numbers of female-identifying creatives opportunities for ROH led productions to within New Wolsey Theatre’s creative teams have female conductors, or offer assistant and to reflect on women’s representation on conductor roles. This enables next steps for stage. After their participation in Advance, the the relationships built with conductors through

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 16 percentage of female creatives in New Wolsey can women encounter in building and Theatre teams is 45.16%. That represents sustaining a career in choreography? How an increase in proportion of more than 14% might Sadler’s Wells tailor its working in comparison to the statistics before their processes to better support the development involvement in the Advance programme. of women’s careers?” Tonic supported Sadler’s Regarding their work in the youth theatre Wells research by carrying out a wide-ranging programme, New Wolsey Theatre has put in investigation including discussions with Sadler’s place organisational and structural changes, Wells’ staff members responsible for artist including the creation of new roles, developing development and programming decisions. thinking around gender and intersectional Tonic also held conversations with female- diversity. There is a significant majority of identifying dance producers, conducted one- female-identifying creatives in decision- to-one interviews with 18 female-identifying making roles and in young participants choreographers and organised a focus group of the programme, which evidences New with four women choreographers at different Wolsey Theatres commitment not only in stages of career development and across a the employment of more female-identifying range of different artistic practices. creatives, but also in the potential impact that Some of the findings of this research included: these individuals can have in terms of role the impact of the competitive journey as a modelling for young people. professional dancer in the development of Following their involvement with the Advance female-identifying creative voices, the notion of programme in 2016, New Wolsey Theatre have authorship, the preference of arts organisations continued to examine their processes and for certain artistic practices, the interviewees’ procedures, looking at gender representation experience of fewer and lesser opportunities not only in terms of numbers but also in being offered to them than to men, and the decision-making roles and the impact that challenge of managing family, personal and individuals can have. They have reported that financial circumstances. In response, Sadler’s using an intersectional perspective, they now Wells’ teams implemented a developed have a gender representation analysis for their version of Tonic’s gender tracker, so they own produced work and include ‘Equality and could monitor the work that they commission, Inclusion’ as a standing item on all internal produce, and present on their stages. They meetings across all levels of their work. New also considered analysing this information Wolsey Theatre has also included Unconscious for making curatorial decisions, and for Bias training as part of their rolling programme paying immediate attention to how to offer a and aim to deliver remote training for all staff greater number of opportunities to female- in early 2021 (New Wolsey 2020). New Wolsey identifying choreographers. After Sadler’s Theatre reports an ongoing and conscious Wells’ participation in the Advance programme effort to diversify the creative, production and and the actions taken, the percentage of acting teams, rewriting scripts when needed female choreographers for productions and implementing an active search for bringing commissioned, produced and presented on more female-identifying creatives to the Sadler’s Wells’ stages rose to 38.80% for the creative teams – including using a list of female- period 2016-2020, representing an increase in identifying freelance artists supplied by Tonic. proportion of 2.80% from the period 2013-2016 before the Advance programme. Alongside the Sadler’s Wells statistical increase, Sadler’s Wells has continued to be alert to the gender imbalance in the Sadler’s Wells focused their work on female- artistic programmes by means of the gender identifying choreographers and how women tracker, and has actively sought to support might be better supported by the organisation. female-identifying artists to develop work in its Their research question was “What challenges studios through in-kind studio space.

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 17 After analysing the results of the investigation Other new initiatives and projects that Sadler’s carried out in partnership with Tonic, and with Wells has established for emerging young the intention to redress the gender imbalance, choreographers include their Young Associates Sadler’s Wells has focused on different aspects programme, launched in 2018. This initiative of its artistic programmes. For example, looking aims to support young dance-makers at the at guest artistic directors working with the start of their careers. Within this programme, National Youth Dance Company, Sadler’s Wells Sadler’s Wells is committed to ensuring that moved from having one female and four male female-identifying artists represent a minimum guest artistic directors during 2012 – 2016, of 50% of each cohort. During 2018, Sadler’s to having a 50:50 balance, with two female Wells organised a Summer University event in and two male guest artistic directors in 2017 which they invited Parents in Performing Arts – 2021. Regarding their ‘New Wave Associate’ (PiPA) to lead a session and to offer a discursive programme, in 2018 Sadler’s Wells appointed space to bring light to the challenges of being three new female-identifying or non-binary an artist-performer and a parent. In this event, associates: L’atisse Rhoden, Julie Cunningham Sadler’s Wells offered access to a mobile crèche & Project O (Alexandrina Hemsley and Jamila in order to facilitate the participation of the Johnson-Small). Within the Breakin’ Convention group members. programme, Sadler’s Wells is working to develop more female mentors to join the programme, inviting artists like Julia Cheng (UK) and Axelle (CN). Finally, in ‘Back to the Lab’, Breakin’ Convention’s annual professional platform, Sadler’s Wells is aiming to have a 50:50 gender balance, and for 2021’s edition, they are working with three female artists and one male artist. Sadler’s Wells has continued to ensure visibility for strong female voices in the Lillian Baylis Studio’s artistic programme, including programming artists such as Eva Recacha, Kiera Martin and Nora (Flora Wellesley Wesley, Eleanor Sikorski & Steph McMann). Additionally, as part of the same programme in the Lillian Baylis, Sadler’s Wells has made a commitment to cover childcare costs, where possible, for dance artists who might not be able to perform at Sadler’s Wells without this assistance.

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 18 3. Changes in Process and Policy

As indicated above, this report recognises the limitations of expressing change in statistical form and so works to express the impact of Advance on procedural change and the benefits for individuals, the participating companies and the industry as a whole in terms of shared experiences and best working practices.

In an industry drawing largely on fixed term company such as ETT address them?” Tonic and freelance workers, comparisons between conducted research with a group of actors who working contexts, work models, and changes had toured with ETT and gathered information in provision and company procedures can that was then shared with ETT. The company make one company more desirable to work confirmed that many of their assumptions for than another – and word travels fast. This about why touring is hard were correct: finding section draws attention first to the ‘local’ impact appropriate accommodation and gaining introduced by day-to-day changes in policies, information about potential digs from the list processes and procedures before moving on provided were the hardest aspect of touring. to consider the potential impact for the wider The research showed that the main gender industry arising from new initiatives instigated specific element was personal safety and, in by an individual company. general, the lack of information regarding facilities, location and conditions of individual As a result of their engagement with the digs. Advance Programme, the following companies implemented specific changes in their policies As a response to the feedback from Tonic’s and procedures which exemplify best practice research, ETT implemented changes in and which are detailed below. It is to be noted procedures, including a review of budgets that for other companies, namely Headlong, to see if it is possible to accommodate cost New Wolsey, ROH, Sadler’s Wells, and CFT, we of hotels and Airbnb’s. When that is not have included significant accounts of initiatives possible, ETT decided to visit the digs and and changes in policies in the section above. check conditions. Another important policy change is related to childcare and caring English Touring Theatre (ETT) responsibilities. ETT has introduced a line to their equal opportunities form asking about As part of Advance 2014’s cohort, English any caring responsibilities. Likewise, they Touring Theatre (ETT) examined the have implemented a communication strategy implications of touring on female-identifying between agents and casting directors, to creatives and exploring what procedures they find out if the creative staff member has any could improve on. Specifically, they researched caring responsibilities and how they could “What are the gender specific implications arrange the creative’s accommodation to of touring for a woman and how could a meet any different needs the individual may

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 19 have. ETT has also started to send a weekly it ‘was the single most effective outcome of email in advance of tour dates, listing family the Advance programme at the Gate’ (2020). friendly activities. According to Sophie Scull, Although it was only sent to directors and not ETT’s Executive Producer, the work initiated other creatives, such as writers, it encouraged with Tonic in the Advance programme has the lead artists to think more broadly about been really supported by the creation of PIPA their usual ‘go to’ list. Slater reported how (Scull 2020). In an example of this, ETT has positively it was received and shared how the significantly overhauled its maternity provision, idea had been transported to the US Theatre a change that according to Scull would not have Industry scene, with Rachel Chavkin ‘sharing it happened without the work by Tonic and PIPA. widely at a conference in America, saying it was Finally, as a new initiative, ETT has created a an example of good practice in the UK’. production management specific role, with the Since 2017, when Ellen McDougall started as aim of recruiting staff that are less likely to be AD, this contractual requirement has evolved hired in different creative roles. For example, to ensure that representation within creative they have offered a 6-month training bursary teams encompasses ethnic and cultural for a female production manager. diversity. This commitment to representation further expanded to counterbalance Gate Theatre the binary assumption of 50/50 gender Through their involvement in the Advance representation, creating opportunities for Programme in 2014, the Gate Theatre focused trans, non-binary and gnc people. Since its consideration on the reasoning and then, the Gate has had internal quotas for on implications of the assumption that men are stage representation and creative teams, and more attracted to Lighting and Sound FX roles. has run an open recruitment process for all Specifically, they were interested in examining assistant designers and directors, ensuring if there is a bias in recruitment and in training that across a season, these cohorts are opportunities, which led to their research representative. Looking forward, this work will question “‘Men are more naturally drawn to extend to all freelancer recruitment, ensuring lighting and sound design.’ Is this true? And that the hiring of casual staff does not rely if not how can access to these roles be made on a small network of known technicians, more equal?” In collaboration with Tonic, the for example, but continues to provide open Gate investigated this idea further, speaking opportunities. In 2019, the Queer House with student designers, educators and industry became an Associate Company at the Gate, professionals and discussing the roles in and their campaigning for, and representation more depth. A key finding was that the long of trans and non-binary performers in hours (particularly in production weeks) and particular has fed in to all casting processes perceptions of personal confidence appeared since. Having worked with Rachael Young to impact recruitment. As a result, the Gate on the freelance taskforce in 2020, who explored alternative ways of doing techs. completed research into how to make the Following the lead set by Rachel Tackley (then industry more accessible to neurodiverse AD at ETT) The Gate made a public ‘pledge’ freelancers, the Gate are working with her to ‘never again have an all-male creative recommendations to improve accessibility team’. The Gate supported this commitment in this area. Alongside this, the Gate are re- in the form of an appendix, an addendum to assessing fees for freelancers, recognising directors’ contracts, which outlined that the that low fees are a barrier for people from Gate expected directors to commit to avoiding marginalised backgrounds, and in addition, employment of an all-male creative team. that the historic working culture of the wider industry celebrates burn out, and pushes Former Executive Director, Clare Slater people to regularly work 12 hour days. The commented on the appendix, noting that Gate are restructuring their tech schedules for

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 20 21/22 to ensure that there are no scheduled the Royal Ballet School and Sadler’s Wells. 12 hour days going forward. As a result of this initial part of the research, the company learned that a complexity of In Summer 2020, alongside most arts factors contributes to fewer women than men organisations, in response to the Black moving into the choreography of classical Lives Matter Movement, the Gate published ballet, understanding that female dancers face their data as part of the #PullUpOrShutUp issues of self-consciousness and confidence in call to action. The Gate declared that, 'We training spaces that their male colleagues do want our workforce - across all areas - to be not usually face. Other findings included the representative of the communities that are lack of role models and pressure to build-up a local to the Gate, and of London more widely. career as a dancer can affect female dancers’ We recognise that this involves a process of considerations of choreography as a career education, unlearning, and change. We want pathway. the Gate to be a truly antiracist organisation, and to be a place that people – audiences and To respond to the findings, Northern Ballet employees alike, want to come back to, and developed an action plan across the Northern feel safe, supported, excited, and able to make Ballet Company and the Academy of Northern their best work.' The Gate will publish updates Ballet,8 encouraging girls and young women to this data annually, to ensure they are held towards choreography of classical ballet. accountable and that improvements to the This plan has been embedded into their daily representation of staff, board, and freelancer practice, instead of being implemented as teams can be clearly measured. a parallel initiative. Some of the actions that Northern Ballet has taken includes the inviting Northern Ballet of women choreographers, such as Cathy Marston, as guest choreographers working Being concerned at the lack of women with the Academy and the Ballet company, choreographing classical and narrative led highlighting role models for young female ballet, Northern Ballet joined the Advance dancers. Also, the creation of choreographic programme in 2016. The main aim of the laboratories, with a strong encouragement organisation was to investigate why they saw to female dancers to take part, building fewer female choreographers of classical up a playful and creative space for female ballet than men and how Northern Ballet creatives to explore their choreographing could ensure that the girls and young women practice. Finally, Northern Ballet has created who dance with them were aware that new opportunities for female dancers to start choreography is an option, while having the developing their choreography practice in opportunity to engage with choreographing house. One example is Mariana Rodrigues, who practice. Specifically, they researched the joined Northern Ballet in 2016 and in parallel following question: “Why do we see fewer with her work as a dancer, is developing her female choreographers of classical ballet practice as a choreographer, creating the than men and how can we ensure that the choreography for two of the latest Northern girls and young women who dance with us Ballet’s productions. are aware that choreography is an option for them and have the opportunity to engage Clean Break with it?” The research process started with Tonic conducting workshops, focus groups As a theatre company focused on women, and interviews with practising choreographers, specifically those impacted by the criminal women and men, to explore why fewer justice system, Clean Break dedicated its women are working in the field. The question participation in the Advance programme on was discussed not only with staff at Northern researching how it might be able to achieve Ballet but also with staff at The Royal Ballet, better representation for all women within all

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 21 areas of the company. Specifically, the Senior employment with the Company. The focus to team explored the following question: “How date has been around recruitment, including can we alter our structures to increase the reviewing all recruitment packs, introducing diversity of the women we employ to create video applications, audio and streamlining a power shift at Clean Break and lasting job descriptions, visuals and languages used. change within the theatre industry?” Clean Clean Break has increased representation Break was particularly inspired and challenged of individuals with lived experience of CJS on by a question from one of the Advance Away its Board, moving from having one Trustee Days about ‘routes into leadership’, what the with CJS lived experience (recruited in 2014) company was doing to ensure succession and to 2019 when an additional two Trustees with how to embed greater diversity within the CJS lived experience (from Clean Break’s own company, particularly at senior management membership) were recruited. Currently a and leadership levels. With Tonic, Clean Break quarter of Clean Break’s Board Members have undertook research into progression routes in CJS lived experience and it is Clean Break’s arts management, examining barriers faced by aspiration to increase this further. Finally, Clean Black and Global Majority individuals, working Break has committed to increasing the diversity class women and those with lived experience of the women it commissions; developing of the criminal justice system. Clean Break further new models of co-production; specifically focused on an examination of its embedding anti-racism across all areas of recruitment processes, different routes into company life, and advancing its influence in the theatre industry and the possibilities for the wider theatre sector as part of a key impact creating and developing new entry pathways. strategy (Herrmann & McBrinn, 2020).

Since its participation in the Advance Programme in 2016, Clean Break has significantly reviewed its recruitment processes, New initiatives paying particular attention to attracting new As a cohort, several NPOs implemented trustees, the recruitment application process, new initiatives based on their response and implementing its commitment to change. to the information discovered during the Clean Break notes that for it, diversity is research process. It is also worth noting the emblematic of the women it works with and importance of discussion, exchange of ideas their shared stories. As a company it sees and comparisons in practice, made possible itself as offering the means and routes for during the Advance Away Days. Working as those with lived experience of CJS to have a cohort, large company alongside smaller, better access to the wider theatre industry. afforded the opportunity to share experiences After Advance, Clean Break focused on its and good practice, recognise habitual internal senior management, trusteeship patterns and share individual experiences of and leadership model. In its recruitment bad practice. Specifically, the following four processes, it asks individuals to declare if they companies made changes to provisions and/ have lived experience of CJS and if so, those or procedures or created specific initiatives individuals who meet the person specification to alter the experience of female-identifying are guaranteed an interview. It has continued creatives working with them: Northern Stage, to work on its job advertisement process, Cast, Headlong and National Theatre. with trustees, senior management and leadership attending a number of sessions Northern Stage run by People Make it Work as part of the Weston Jerwood Creative Bursary Fellowship As part of Advance programme’s 2016 cohort, scheme, which Clean Break is participating in Northern Stage reflected on their contribution throughout 2021-22 to support an individual toward the creative development of mid-career from a lower socio-economic background into companies in the North East, most of whom

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 22 are female-led. Northern Stage considered how addressing inequalities in female the resources of their regional producing house representation in the dramatic repertoire, might be used for addressing the operational particularly the low number of ‘classical’ issues the smaller local companies were facing. play revivals and/or adaptations by female Specifically, they researched the following playwrights, Northern Stage presented their question: “What are the specific needs of ‘Queens of the North’ season (December 2016) small, female-led, non-NPO companies in with re-tellings of Hedda Gabler: This is not a relation to sustainability and growth that Love Story and Dr Frankenstein in adaptations can be met by a regional producing house?” by Greyscale’s Selma Dimitrijevic. In addition, Tonic focused their research on the increasing Northern Stage artistic director Lorne Campbell reliance on small project-based grants and commissioned Central’s Gilli Bush-Bailey to the barriers to sustainability and growth for prepare two ‘forgotten’ plays by women for female-led, mid-career artists and companies. staged readings as part of the Queens of the They held a workshop session and a round of North programme. Central’s collaboration with interviews for several female-led artists and Northern Stage saw the RSC’s associate director companies based in the North East, through Erica Whyman directing the staged reading of which Northern Stage started unpicking Susannah Centlivre’s The Basset Table (1705) some of the issues that they face regarding and Rebecca Frecknell directing Jane Scott’s sustainability and growth, especially funding comedy Whackham and Windham (1817). Both models and organisational structures. plays were presented to a public audience with Newcastle University hosting a collaborative As a result of this research, Northern Stage post show discussion with industry and decided to expand a strand of their artistic academic partners from Manchester, Oxford, development activity to include focus on and Bristol. Funded by Northern Stage the supporting the organisational development of week-long workshop provided work for local companies in the region. In 2018, the NORTH professional performers, introduced two new training programme introduced Company plays to directors, actors and audiences and Development alongside Actor Training and demonstrated the potential for collaborations Small Scale Touring to help support the between academic research insights and development of North East-based performers professional theatre practice. The project and theatre companies. The Company showed the potential for a digital resource of Development strand consists of a 12-month plays by and for women with texts, readings, programme of support to help create a step discussion and interviews on ‘forgotten’ plays change in the development of independent (more information can be found here). theatre companies and theatre makers. In the two cohorts of the programme, the selection and participation of female creatives and Cast female-led companies has been outstanding: As a relatively newly established receiving female beneficiaries of the program constitute and producing theatre venue in Yorkshire,9 almost 70% of the total. The programme is an Cast was most interested in reconsidering important incentive on issues of sustainability their structures and production strategies as and growth, as it includes workshops covering an organisation with a specific focus on their Finance, Fundraising, Marketing, Production, relationships with and support for local and Participation and Technical Theatre. Besides visiting artists. As a result of their reflections that, the selected companies have four in 2016, Cast focused their research on the additional hours with a member of Northern question: “Do the development needs of Stage staff to support them in any given area. male and female artists differ and if so, how? As a direct outcome of Advance initiatives When formalising an artist development programme, how do we ensure women and

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 23 their needs are properly represented in it?” within our organisation and are given full Having determined their focus on developing a opportunity to be expressed in the work we programme of artist and talent development, make?” Besides their organisational targets Cast undertook research with Tonic to identify around gender parity, in terms of the artistic the needs of local artists and the needs of work that they were creating, the National female-identifying artists in order to inform Theatre was interested in observing their own their new programme to more succinctly reach internal structures and dynamics. As part these groups. of Advance work they decided to focus on meetings as a particular aspect of their internal Since their involvement with the Advance communications. The National Theatre invited Programme in 2016, Cast has received funding Tonic to sit in their regular meetings, including from Esme Fairburn to for a producer’s artistic, operational, and departmental post with a focussed remit on artist/talent meetings, to observe behaviours and take development and support (COVID-19 has notes. Tonic also conducted interviews with significantly impacted the development of the a range of staff from across the organisation, whole of the second year of this program). researching how they were experiencing and As a result of this funding, Cast now has a perceiving meetings at the National Theatre. producer working closely with local artists, developing their projects alongside searching The research that Tonic carried out highlighted for new artists. Significant time and space is the importance of questioning the way in which now available for emerging artists at Cast. The the National Theatre conducted their meetings Deputy Director, Clare Clarkson, commented and the participation dynamics in them. Some that resulting from their participation in of the findings included a tendency towards Advance, Cast has extended from the initial speed and ‘getting things done’, which perhaps focus on gender equality to broader questions was awarding more airtime to authoritative, of access, and more precisely, how Cast decisive voices, that often were carrying can better support people from low socio- perceived masculine behaviours – louder, economic backgrounds (Clarkson 2020). Cast more confident and invoking action rather is working with artists who are deaf or hearing than discussion. As a response to this, National impaired and are thus broadening their Theatre’s Senior Management Team undertook contact with local artists from the Doncaster training into meeting facilitation, and they area. Recent developments include Cast’s shift started looking into how other cultural leaders developing local working models, creating local were running their internal communications. partnerships, and encouraging open and wide As a result of the Advance programme work, ranging conversations in early encounters the National Theatre invited Tonic to carry with artists in order to make space for all their out a year-long project (Project Rendezvous) creative requirements. designed to analyse the meeting dynamics and what actions could be taken to deliver a more National Theatre inclusive and equalitarian working culture. This initiative continued to look through a gender The National Theatre focussed their attention lens as well as broadening out to other areas on their embedded working culture, to explore of diversity, at teams’ meetings, as these are whether the way they were conducting their central to how the organisation operates and everyday business could be holding up some communicates internally. deep-rooted unconscious gender biases. Their questions were “What about how we currently communicate within the NT supports our aspiration to work more effectively with women and what could stand in our way? How can we ensure a full range of voices and perspectives are both heard and supported

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 24 Expanding on Advance

To return to our introduction, it is important to reiterate that this report seeks to identify and celebrate the successes and changes that the companies have implemented over the intervening years since their participation in the Advance 2014 and 2016 programmes.

We have noted that most of the companies are performance companies – to work from continuing the journey toward greater equity within – to collaborate with organisations, and inclusion through the Advance Network, to help them ask difficult questions and to demonstrating that the ‘seeds of change’ are highlight blockages; to enable people to do becoming green shoots, changing the way things better by creating the space and ‘toolkits’ women are represented in performing arts needed to make change from the inside out. companies and on their stages. This report The Advance Programmes established Tonic is interested in establishing benchmarks for Theatre as a key instrument of change for quantitative, numerical data, but more to women working across the industry. expand the boundaries beyond numbers to Tonic has an ongoing and significant role include qualitative change; reporting on the to play in the recovery of the performance different approaches, ideas, and initiatives industry in the post-COVID-19 landscape. With that the companies have worked with, as well the Advance Network, Tonic and its partners as drawing attention to some of the key wins are now seen as a leading agent for change that companies have achieved. Crucially, the in EDI across the performing arts. From 2017, publication of the report at this point of the Tonic has been based in, and working out of the Advance programme is to place a clear marker National Theatre, demonstrating impact and in the sand – March 2021 – a full year after influence across the sector right at the heart of the first ‘Lockdown’ ushering in the closure the industry. The Advance Network is one of a of live arts buildings and the cessation of live number of different programmes run by Tonic, performance. It is vital that the evident gains and for each project Tonic works collaboratively in gender equality are not lost; that women with relevant industry partners. For example, in the performing arts are not yet another in partnership with Equity, UK Theatre and the casualty of the global COVID-19 pandemic. Society of London Theatre, Tonic have created a Casting Toolkit, which offers an extensive Thinking through Change range of tools, resources and prompting the “If we don’t keep thinking about the pipeline into casting process, clearly extending the use of the our industry in times of crisis and pay attention gender tracker which was an integral part of – we are going to get a less diverse pool of the initial Advance programmes. creatives in the future.” Indhu Rubasingham, The approaches and methodologies Artistic Director, Kiln Theatre, 2021 established during the Advance programmes Tonic developed the Advance programme have provided models for other organisations to work specifically in partnership with working for change. For example, Advance

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 25 established the template for working in working women (2019). Tonic Connects participation with performance companies, 2020 event was postponed due to COVID-19, taken up in the subsequent programme Tonic Awards, which began in 2017 (also developed by Parents in the Performing Arts postponed in 2020 as a result COVID-19), is an (PiPA), where cross-over gains in areas such as annual event sponsored by leading industry creating female / family friendly digs lists (ETT, organisations, recognising and drawing CFT) are obvious. Advance also reinforced work attention to excellence by women working in by established pressure groups, such as SPHINX all aspects and disciplines of performing arts theatre company, (first established as a female industries. The list of recipients can be seen playwriting cooperative thirty years ago), which here. has re-visioned its earlier ‘Glass Ceiling Events’ in “Using data to track employment stats was a series of ‘Women Centre stage’ events. In 2020 very helpful. I think it was the single most Sphinx delivered ‘Women in Theatre Forum effective thing of the whole programme, for Report’ in association with Women in the Arts, all participants. Things changed radically PiPA, Women in Equity, Act for Change, 50.50 thereafter. I still doggedly use data to track etc. to revive the wider study of women in the all sorts of equal opportunities areas at the Arts (again Arts Council funded). Donmar in my current role. Colleagues think I’m Through the success of the Advance a bit obsessed – but it works. [….] The spirit of Programmes in England, Tonic and Lucy Kerbel being transparent (via data) and then pledging have worked closely with similar programmes to make positive change whilst reflecting calling for change in the UK and abroad. Tonic honestly what did and didn’t work is something was involved with the Waking the Feminists I continue to do in my practice. I learned call for women’s equality in Irish Theatre, with that from Advance” – Clare Slater, formerly Kerbel being invited to provide a keynote Executive Director at the Gate Theatre, now address at the group’s seminal conference Head of New Work at Donmar Studios, 2020. on stage at the Abbey Theatre, Dublin in Central’s team conducted interviews with 2015. Kerbel has also given presentations current and past members of staff involved in on Advance in Scotland (for the Scottish the Advance programmes – two points kept Theatre Federation), Sweden (at Stockholm’s emerging: the opportunity to create change Stadsteatern) and the US (Athena Film Festival, from within an organisation, and the fact that NYC) Since 2018, Tonic has been working with taking part in the Advance programme sowed ENOA (European Network of Opera Academies) seeds of change in their own working practices where, building on what has been learnt and, for some, the organisations they went on through the Advance programme, Tonic is now to work with. working with twelve different opera companies in Europe. Several companies reported that the plans and processes they put in place as a result of Making Change Visible Advance’s work for gender equity, have been vital in more directly embedding processes Tonic has successfully created public platform and procedures for improving racial equity. events from which to celebrate the changing Part of this shift is making visible the work of companies and individuals: Tonic commitment to change, sharing practices and Connects Events offer key spaces and communicating change. For example, we note opportunities for individuals and companies that the Gate publishes its policies and statistics to come together to share best practice and on its website under Our Values section. The address some of the key challenges facing the openness and ease of access to this data invites industry. The 2018 and 2019 events, hosted a conversation with its audience, its creatives respectively by Kiln Theatre and the Lyric and the industry as a whole. It also places the Theatre, addressed bullying and harassment Gate’s commitment to intersectional equity (2018) and financial security for freelance

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 26 front and centre to its work. In July 2020, in openings are very limited and time pressures response to The Call to Action’s Theatre: lead to individuals and so organisations #PullUpOrShutUp, the Gate published data working repeatedly with and through the same on their website from a survey they conducted pool of people – the people they know. between September 2017 and March 2020 Moves to confront and change this practice lie with performers, lead artists and freelancers in the outreach or community-based practice they worked with during that period, again organisations also engage in but which are often demonstrating the Gate’s commitment to confined to ‘new’ work in small spaces rather change and its intention to becoming an anti- than main stage work – this is a key route into racist organisation. the industry for many creatives. Where more attention and focus is given to youth theatres, Changing the ‘Go to List’ community-based projects and the educational As a university and conservatoire Central’s or outreach work, key changes and a shifting of role as academic partners and stakeholders, the ‘go to list’ can occur. A number of companies preparing the next generation of professional contributing to this report are making significant practitioners, placed the research team in gains in this area. See the work by Kiln for a position to bring specific relevance to the example or New Wolsey Theatre’s work around Advance work. The research was informed diversity in race and ethnicity, disability and by a depth of vision informed by earlier calls gender, demonstrating impact in terms of for equal representation in the performance shifting change and vision for potential career industries (specifically earlier Arts Council pathways open to young female-identifying reviews on female employment in the industry creatives taking part in their youth theatre 1987; 1994 etc. ‘What Share of the Cake programme. Now?).10 Central’s role as Academic partners underlined the importance of expanding the Continuing Change discussion around gender equity, tracking Events triggering the #MeToo and the Black pathways to impact, and encouraging Lives Matters movements have all worked attention to sustainability and longevity of to shift the terrain and Advance Network change by asking: works with companies’ commitment to the How is change embedded in company policy process, working on broader questions and and process when individuals move so understandings of intersectional equity and rapidly and frequently within the industry? inclusion.

Given that there is a rapid turnover of As academic partners, we offer the following creative personnel within the industry how observations and provocations in conclusion can modes of change travel with them? to our report on to the ongoing work of the Advance Network: The marked success of the Advance programmes has been the opportunity for The effectiveness of the Advance organisations and individuals to network, programmes can be seen in the many small, to come together to talk, research and yet practical changes that organisations learn together. The patterns for exchange were able to make. established during Awaydays, and the events Acknowledging that change takes time. We which Tonic has continued to run in the form are now seeing the impact 5-7 years later. of Tonic Connects, and now the Advance What needs to be put in place now to track Network programme expand the potential for change in 2031? establishing best practice. As Rachel Tackley put it: challenging the ‘go-to list’ (2020) in a fast- The importance of continuing to track this changing industry, where opportunities and data, making the gender tracker, as outlined

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 27 on the Tonic Casting toolkit site, more widely significant changes since 2014 (links toSarah available – to include conservatoires and Frankcom (LAMDA) Bernadine Evaristo (Rose other professional training organisations – Bruford), Josette Bushell-Mingo (Central). The also extending its range to cover more than conservatoires play a keen role here – with gender while maintaining a space for stronger links needing to be made between women. companies, advocacy groups and other education establishments. Networks offer support and models of best practice but can also act as a form of Staging Change gatekeeping. Commitment to constantly revisit and re-examine, work fluidly, To conclude, emerging reports note that as a responsibly and openly to mitigate against result of COVID-19 across all sectors, female- unintentional gatekeeping. identifying and non-binary individuals have been significantly impacted in terms of job Leading companies to consider working more  losses. Women are leaving, or being forced closely with different types of organisations: out of, the job market due to shouldering – For example, setting up supportive the majority of childcare and other caring partnerships (e.g. by Northern Stage responsibilities.11 PriceWaterhouseCoopers’ and the Gate) allowing for collaborative annual report Women in Work Index found that exchange and growth, bringing new work, that COVID-19 has placed progress for women new changes and new voices to wider in work back to 2017 levels. PWC concluded, “In platforms. order to undo the damage caused by COVID-19 to women in work – even by 2030, progress Challenging places of professional towards gender equality needs to be twice as preparation: ensuring industry engages fast as its historical rate.” The arts must be the more fully, especially in terms of leading sector which leads this focus on a progress next generation industry recruitment from towards greater gender equity. In the UK, traditional and non-traditional pathways to women were furloughed in greater numbers work. than men during the first lockdown and calls have been made for the UK government to – Potential partnerships with organisations implement women’s strategy to “to tackle the such as the Diversity School Initiative. unequal economic and domestic impact of the – Working partnerships with conservatoires Covid-19 pandemic” (Topping, 2021). During the and training institutions, ensuring UK wide, first lockdown, according to the campaignERA and socio-economic equity recruitment to 50:50 “women were around a third more likely industry creative roles. to work in a sector that was completely shut down during the first national lockdown than – Working in partnership with alternative men, with accommodation and food services programmes offering training and arts, entertainment and recreation among opportunities (as demonstrated by Kiln). the most impacted sectors” (2021). The Central team acknowledges the This is the moment for the arts to show responsibility of conservatoires and educational the value of its leadership in realizing establishments to lead and model the type gender equality, progress to gender equity of changes and ways of working from within. and intersectional equity. This is not an The call to model best practice for students aspirational statement – the time for so that as graduates they are able to work in aspiration is gone, it needs to be reality – an industry that represents and reflects them and Tonic’s Advance programmes works fully. For people at the centre to ensure that the from a position to help achieve that reality. pathways are kept open for all those entering the industry. Within education, here have been

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 28 Further Reading

Tonic’s Advance Programmes coincided with a new wave of awareness and continues to engage with conversations and calls for action around gender equity.

At the beginning of Advance, in 2014, Laura Bates’s Everyday Sexism and Lucy-Ann Holmes’ No More Page Three were among the movements identified by some as defining a ‘fourth wave’ of protests around gender equity. These and other pressure groups generally worked from outside, calling for changes across broad social and cultural terrains and, notably, recruiting support via social media. Other key texts and references we recommend include:

Babb, Gail (2018). ‘Equality, Diversity and Inclusion: What is stopping us?’ Provocation Paper for the Clore Leadership Fellowship 2017/18.

Fallow, Catriona, with Mullan, Sarah (2021). ‘The Royal Court in the Wake of #MeToo’, with Sarah Mullan, in Judith Rudaoff (ed),Performing #MeToo: How Not To Look Away, (Bristol: Intellect), pp. 123-140.

Golding, Amy (2015). ‘Female Theatre Directors in the UK: Why the Need to “Prove” Ourselves?’ Provocation Paper for the Clore Leadership Fellowship 2013/14.

Masso, Giverny (2021). ‘Gender inequality likely to increase post-pandemic, report warns’ The Stage, January 13, 2021.

Sphinx Theatre, University Women in the Arts & December Group (2020). Women in Theatre Forum Report: Part One.

The Stage (2020). ‘The Stage diversity in leadership study: Slow change at the top.’ The Stage, January 2, 2020.

Topping, Alexandra (2021). ‘Women’s wellbeing hit harder than men’s during pandemic, says ONS.’ March 10. The Guardian.

Kerbel, Lucy (2013). 100 Great Plays for Women (London: Nick Hern Books).

Kerbel, Lucy (2017). All Change Please (London: Nick Hern Books).

ERA 50:50

European Theatre Convention (2021). Gender Equality & Diversity in European Theatres: A Study. (Berlin: European Theatre Convention).

Stellar Quines and Hamilton, Christine (2020). Where are the Women? Part 2. An analysis of creative roles by gender in Scottish theatre 2019/2020, commissioned by Stellar Quines.

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 29 Interviews

Interviews were conducted by Dr Katharine Low and Gabriel Vivas-Martínez, with the following people, conducted under full compliance with Central’s ethics and integrity framework. We thank: Gemma Baxter, Claire Birch, Anneliese Graham and Alistair Spalding, Robert Hastie, Chris Haydon, Anna Herrmann and Róisín McBrinn, Greg Jauncey, Lucy Kerbel, Elaine Kidd, Rosie Mortimer, David Nixon, Mariana Rodrigues, Indhu Rubasingham, Sophie Scull, Rachel Tackley. We also thank everyone from the companies who responded to our numerous emails.

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 30 1 A guide to how ACE works with their NPOs.

2 The 2014 Advance programme was supported by Paul Hamlyn Foundation and the 2016 programme was supported by Arts Council England.

3 See: Lola Olufemi’s Feminism, Interrupted: Disrupting Power (2020), The Gender Trust’s Gender Concepts around the World, What is wrong with labels? by the Institute of Development Studies, Transgender, Third Gender, No Gender: Part II by Neela Ghoshal, the Resources for Professionals by Gendered Intelligence amongst others.

4 A four-year Tonic-led programme of ongoing training, exploration and collaborative working supporting organisations to deepen engagement begun during the Advance programme but now extended more broadly across all their work on Equality, Diversity and Inclusion. 16 of the 20 Advance organisations chose to join the Advance Network: Almeida, Cast, Chichester Festival Theatre, Clean Break, English Touring Theatre, Gate, Headlong, Kiln, Leeds Playhouse, National Theatre, New Wolsey Theatre, Northern Ballet, Royal Opera House, Royal Shakespeare Company, Sadler’s Wells, Sheffield Theatres. Although not members of the Advance Network, thanks to a prior research partnership between Northern Stage and Professor Gilli Bush-Bailey and Mahogany Opera’s recent contact with Tonic, we are also able to share their initiatives and work in this report.

5 This is a distillation of the information found in the Advance website.

6 NB. Artistic Director, Daniel Evans and Executive Director Rachel Tackley (2016-2018) were both previously attached to companies participating in the 2014 Advance Programme: English Touring Theatre and Sheffield Theatre respectively. In 2019, Rachel Tackley moved from CFT to her appointment as Creative Director at Riverside Studios. Kathy Bourne was then appointed as CFT Executive Director.

7 Kiln closed for a capital project between July 2016 – Autumn 2018 – reopening the new building as Kiln, hence the lack of numbers in that period.

8 The Academy of Northern Ballet is a centre for ballet training in which the students train in the same setting as professional company dancers, which creates ‘invaluable opportunities for mentoring and unique possibilities to work with, train alongside and gain an insight into life as a professional dancer’ (Northern Ballet, 2021).

9 Cast opened in 2013.

10 Caroline Gardner’s ‘What Share of the Cake?: The employment of women in the English theatre (1987)’ was a report commissioned by the Women’s Playhouse Trust on companies then in receipt of Arts Council Revenue grants. In 1994 the study was updated and reported by Jennie Long ‘What Share of the Cake Now?’ Both reports appear as Chapters 15 (pp. 97-102) and 16 (pp. 103-107) respectively in The Routledge Reader in Gender and Performance eds. Lizbeth Goodman with Jane de Gay (London: Routledge, 1998).

11 See the Fawcett Society’s reports on the impact of COVID-19 on mothers, low-income families with children, parents. This is discussed in more depth in their Coronavirus Crossroads: Equal Pay Day 2020 Report.

Impacts of Tonic Advance on Gender Equity in the Performing Arts, 2014-2020 | 31