RADIO COMMISSIONING

Commissioning Brief

Commissioning Brief No. 31242 Drama on 3 For BBC Radio 3 April 2022 to March 2023 (and some editions commissioned ahead for April 2023 onwards) BBC Radio Commissioning Brief_ V2.2_2021_May

CONTENTS

SECTION A: EDITORIAL OPPORTUNITY ...... 3

1. About BBC Radio 3 ...... 4 2. The Editorial Opportunity ...... 5 3. Key Deliverables ...... 13 4. Success Measures ...... 13

SECTION B: PROCESS, ASSESSMENT & EVALUATION ...... 14

1.The Three Stages……………….…………………………………………………………..…… 14

SECTION C: THE COMMISSIONING TIMETABLE ...... 16

SECTION D: FULL PROPOSALS AND REFERENCE INFORMATION ...... 17

APPENDIX 1: Diversity & Inclusion ...... 18

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SECTION A: EDITORIAL OPPORTUNITY

Commissioning Brief ID / Title: 31242: Drama on 3

Commissioning Owner Matthew Dodd

Commissioning Contact Matthew Dodd/David Ireland

Commissioning Brief Title Drama on 3

Network Radio 3

Guide Price £15,000-18,000 per hour

Genre Drama

Duration 74’-179’ (although 89’ is usual)

No. of Episodes 21

Transmission Period Mostly April 2022-March 2023, although some will be commissioned ahead for April 2023 onwards

Slot Day Sunday

Slot Time 1930-2100 (if 89’)

More information relating to all commissioning briefs and rounds, regardless of Network can be found on the ‘Pitching Ideas’ page of the Radio Commissioning Website: http://www.bbc.co.uk/programmes/articles/4fC4NcVXqkZntJv8ZHpClD8/pitching- ideas

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1. About BBC Radio 3

BBC Radio 3 offers a mix of music and cultural programming to entertain and absorb audiences. It has a core proposition of great classical music, which leads its daytime schedule – and a host of live concerts and live performance every day. Alongside this are distinctive programmes on jazz, world music, drama, as well as documentaries and discussion programmes on the arts and the world of ideas.

Network Editorial Strategy & Objectives

Cultural programming and cultural commissioning are a central part of Radio 3’s mission. • We believe arts and music make the world a better place by bringing people together through shared experience and understanding, providing a place of inspiration, and a means to navigate a complex world.

• At BBC Radio 3 we want to enable as many people as possible to have life changing musical and arts experiences. We aim to provide listeners with time out from a busy world through full-length artistic performances and slow radio that takes the time it takes.

• We pride ourselves on being a commissioner and interpreter of complex culture; shining a new light on well-loved artistic works and investing in new artistic talent to bring cutting edge work to audiences everywhere.

• We are one of the most significant commissioners of contemporary classical music anywhere in the world and the biggest broadcaster of live classical concerts including the BBC Proms.

• From classical music to arts discussion, documentaries to essays, drama to sound art, video games and film music, to jazz, world, ambient, electronic and the avant- garde, there is a Radio 3 for everybody – we welcome you to join us on BBC Sounds, DAB, online, and on FM.

Diversity

Radio 3 is dedicated to improving diversity and inclusion across the station through a long- term strategy which will lead to an even richer musical and cultural offering. The station is part of BBC Radio’s Diversity and Inclusion commitment and as a result we’re seeking to widen diversity in portrayals on air and in the production of Radio 3 programmes – including this drama slot (for details of this commitment see appendix). We are interested to hear your content ideas and how they might be expressed across the schedule. Radio 3 has launched several creative initiatives on diversity – including a new partnership with the Arts and Humanities Research Council to support research on and performance of composers from diverse backgrounds. We intend that what we do will contribute to changing the classical music industry as a whole, as well as other genres of music and

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culture. The outcome should be a broader, more interesting and more excellent output for audiences to engage with.

2. The Editorial Opportunity

Drama on 3 is Radio 3’s weekly drama showcase. At its heart are new productions of classic and modern stage plays; radio versions of acclaimed current theatre productions; major new works from leading and emerging writers.

Drama on 3 reflects Radio 3’s overall strong relationship with live performance – and since the advent of the first lockdown Radio 3, as part of the BBC Culture in Quarantine, has co- commissioned a significant number of new audio productions in collaboration with theatres that have been shut by the pandemic. We would like to continue and extend these type of collaborations, even as theatres re-open.

We’re interested in thinking about how Radio Drama can increase its impact amongst drama audiences who have turned to audio for the first time this year.

At the same time, we’re part of Radio 3’s quest for discovery and new works of culture – so, for example, we commission new productions of plays by international playwrights not so well known in the UK. And in the same spirit, we support innovative new writing.

Drama on 3 and Covid restrictions

At the time of issuing these commissioning guidelines, the relaxation of all Covid restrictions has not yet been confirmed.

Drama production teams have achieved amazing results in recording remotely. At this point in time, we still need an assessment around the feasibility of new productions when you offer a play. If a proposal needs much greater relaxation of social distancing in order to be produced (even in a year’s time) – please tell us in the proposal. Likewise if your production is ideally suited to restricted conditions, please tell us.

Main Editorial Brief

The key qualities:

This is “event” drama. Drama on 3 should be one of Radio 3’s stand-out moments of any week. The plays we commission here have to catch people’s imagination and then hold their attention for a full 90 minutes or longer. Every broadcast in this slot is Radio 3’s play of the week. With a 7.30pm broadcast slot, we need plays which feel like a centre-piece of Radio 3’s weekend and productions which will engage all listeners – not just the dedicated radio drama fans.

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A large proportion of Drama on 3 listening is now done on-demand on BBC Sounds but this varies greatly between productions – so each play has to earn that audience. We need to know how you will do that.

We expect the storylines, the dialogue, the emotional complexity, and the intellectual curiosity of evening drama or absorbing on-demand listening.

Strong casts: Drama on 3 is an arena for great actors – new and established. This is a place for high profile actors to take the parts that stage and screen won’t allow them.

Psychological sophistication: The plays here are usually 90 minutes long. Some are two hours or more. In that time we expect characters that change and develop, and actor portrayals that are nuanced and intriguing – like any powerful stage play.

What we’re looking for: Classic Plays reinvented for 21st century audio

We’re looking for fresh and innovative productions of the great plays of world theatre – including some of the most well-known. They need to appeal to today’s audiences. They might be re-written to increase impact; they could be radiophonic versions that re-imagine the plays for today; or they could feature high profile casts who act as a make-a-date bridge into historical pieces. They are always superb high quality programmes with a contemporary feel.

By radio standard, these works are long – sometimes very long. They are big and bold statements about what Radio 3 offers to audiences. We need to know that your proposal will keep listeners engaged and that your version will feel like a significant moment in the history of productions of this work.

Don’t be afraid of offering a playwright’s best-known works – we are always looking for some of the major classics. We need to know what you the production team are going to add to an established work. And we will certainly want to commission a number of out-of- copyright plays.

But at the same time, we’re not only reflecting the theatrical canon – we aim to push at its boundaries. Are there works from different times and different parts of the globe that you can make resonate and surprise today’s audience?

We’re also looking for innovative rediscovery of existing plays – but they need to be forceful and newsworthy revivals, rather than interesting curiosities or neglected classics. In line with Radio 3’s objective to rediscover unjustly neglected female composers from the past, we’re interested in hearing about historical female playwrights who you think you can turn into thrilling radio drama. NB. Large cast classic plays have been more difficult to record during lockdown. Please discuss this issue with the commissioning editor if it relates to your proposal.

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Stage Transfers

Radio 3 is a station for the performing arts, with concerts, operas, poetry readings all integral features of our output - and Drama on 3 aims to reflect the best of what is happening in Britain’s theatres. Since Lockdown these partnerships have been scaled up - and as long as the future of theatres re-opening is uncertain, we welcome new ideas on how Drama on 3 could collaborate with venues, directors, writers and actors.

We are also on the hunt for new radio productions of recent exciting and stand-out plays which will bring the play to a broader audience and reflect greater diversity. We need to build on the audience who turned to audio drama for the first time under lockdown.

Younger audiences

We’re looking for a significant number of ideas that directly address a 35-54 audience. They will be sophisticated dramas and may include historical plays and innovative new ways to do things.

We’d like to discuss writers, storylines and formats that are going to achieve this. Recent successes in this field have tackled contemporary subject matter and have drawn on genres like fantasy and the psychological thriller to create compelling plots.

These productions might be stage transfers of successful plays that have proved popular with a younger, culturally-aware audience.

We are open to new ideas about how we use the R3 drama slots to make it more flexible: We’ve sometimes divided the Sunday evening into several plays of 30 minutes each by emerging writers. We’re looking for further format experiments of this kind.

We are interested in trying new things, in challenging the way we broadcast in order for Drama on 3 to reach out to new audiences.

New writing

We’re looking to commission major new plays from the best writers in British drama – both the existing titans and up-and-coming voices. Drama on 3 offers at least 90 minutes of air- time to writers who want to tell a thrilling story that needs time and space to develop. For the established writer, this should be a chance to realise a passion project. For brand new writers, we’re looking to find fresh ways of segmenting the Drama on 3 slot so that we can make space for a variety of new voices.

We’re also looking for a number of works that offer a radical challenge to received ideas about radio drama. These might be collaborations with leading artists, poets, musicians or sound designers – but they will bring together innovative ideas about format without abandoning a sense of the importance of the listeners’ experience. This is a chance to

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create a radio work with the now-established creators of immersive or site-specific theatre – or to collaborate with digital partners.

Contemporary European and International Drama

We’d like to address the paucity of contemporary European and International drama with striking new commissions. These should be plays that travel easily and aren’t meant to be “beginner’s guides” to an unknown country: Our interest is focused on exciting writing and arresting writers.

We would also like to introduce UK audiences to writers whose works are well known in Europe but unjustly not so well known here. We’ve already looked at translating some works that aren’t yet available in English, based on sample sections – and this possibility remains.

Long Poems

We’ve commissioned a number of long poems and extended readings in this slot – and we are now keen to do more. We’re looking for classic poems but not over-familiar or often- quoted works. These need to be long works that take full advantage of the Drama on 3 slot. Some have run at 100 minutes or more. They need imaginative and contemporary treatments, with, for example, music, archive and additional voices included. The poems can be narrative or non-narrative, and can contain challenging language – but must be attractive propositions as programmes. We expect high profile readers who will draw the audience to poems they have not heard in full.

Digital and sonic innovation.

The importance of digital platforms for Drama on 3 is vital. A large – and growing - proportion of all listening to this slot is on-demand on BBC Sounds. When pitching and producing programmes for Drama on 3, we need you to think about its success on Sounds.

We are looking for some key drama commissions which could work harder online and become available on demand for a long period. If you’ve got a project that will have clearable rights then please let us know. We’re looking for head-turning, effective ideas.

We’re also interested in commissioning further sonic innovations, fresh ways to develop binaural recordings and in commissioning more plays that include sound design. This year Radio 3 launched Sounds First, a competitive scheme for new sound designers – and we’re working on including the selected designers in new productions in Drama on 3.

For additional digital content, the Radio 3 digital editor will assess the potential. The supplier of the programme will have the first option to offer to supply this if it is required and if they have the capacity and expertise.

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Specials

We’re looking for special seasons for Radio 3 which put Drama on 3 at their centre. This isn’t always about volume – it can be about a single ambitious commission around which other programming can coalesce. We’re also always looking for great new plays about classical music. Too many of these proposals have focused on great historical composers. We’re keen on finding new ways of representing music in the contemporary world – new stories that have music at their heart, use music in their production, but aren’t biographical journeys of the great and the good. Some suggested themes for 2022 include the BBC Centenary and Great Works of Early Modernism.

Some stand out productions from last year:

Rockets and Blue Lights: Winsome Pinnock’s new play retells British history through the prism of the slave trade. Fusing fact with fiction, past with present, the powerfully personal with the fiercely political. A lockdown partnership with Manchester Royal Exchange.

Folk: Simon Russell Beale plays the folk song collector Cecil Sharp in Nell Leyshon's play, inspired by Sharp’s song-collecting in Somerset in the summer of 1903 and the ethics of his collaboration with local singer Louie Hooper. A lockdown partnership with Hampstead Theatre.

The Meaning of Zong: Giles Terera stars in his own debut play about the notorious massacre aboard the slave ship Zong in 1781, and how uncovering its story galvanised the growing Abolition movement in the UK. A lockdown partnership with Bristol Old Vic, as part of BBC Lights Up festival.

Peking Noir: A true crime docudrama about the secrets of a Russian refugee who ran the Peking underworld in the 1920s and 30s. Writer Paul French goes in search of a forgotten world and the unknown person at its centre. With drama by Sarah Wooley.

French Like Faiza: Love, faith and values clash as a French woman of Algerian descent moves to cross-cultural London and questions her identity. Written by Ilana Navaro with Sudha Bhuchar.

Adventures with the Painted People: David Greig’s new drama about love and culture, set on the River Tay, 2000 years ago, as a Roman poet and a Pictish witch escape downriver. A lockdown partnership with Pitlochry Festival Theatre and Edinburgh Lyceum.

Constellations And Elegy. A double-bill of Nick Payne’s hit plays in new productions with Gugu Mbatha-Raw and George MacKay, and Juliet Stevenson, Deborah Findlay and Marilyn Nnadebe.

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Mabinogi: The latest instalments of Lucy Catherine’s fantasy adventures, based on the iconic work of medieval Welsh mythology, The Mabinogion. A partnership with Radio Wales.

Rodgers and Hart and Hammerstein: Richard Rodgers and Oscar Hammerstein had one of the most famous musical partnerships of the 20th century – creating THE SOUND OF MUSIC and OKLAHOMA! But before Rodgers and Hammerstein, there was Rodgers and Hart. Sarah Wooley tells the tumultuous story of the unravelling of one partnership and the birth of another.

The Sorrows of Young Werther: Hattie Naylor’s new version of Goethe’s ground-breaking eighteenth-century book about a young Romantic artist at odds with society and his turbulent love affair. With Joel MacCormack, Jack Farthing, Finn den Hertog and Daisy Edgar-Jones.

The Fishermen: A powerful allegory of brotherhood, vengeance and fate set in Nigeria. A radio version of New Perspectives' stage play by Gbolahan Obisesan of the Man Booker shortlisted novel The Fishermen by Chigozie Obioma.

The Son: Florian Zeller’s powerful drama about parenthood explores the impact of mental illness on an already fractured family. Third play in a trilogy which follows The Father and The Mother, both already broadcast on Radio 3.

Beethoven Can Hear You: Peter Capaldi stars as Ludwig van Beethoven and Sophie Stone as The Visitor, in an immersive drama marking 250 years since the composer’s birth. An immersive exploration of Beethoven and his music from writer Timothy X Atack (Forest 404) and with an original score from deaf composer Lloyd Coleman.

Unicorns, Almost: A play by Owen Sheers about Second World War poet Keith Douglas. Unicorns, Almost tells the story of his short life to his death three days after D-Day at the age of 24.

What we’re not looking for this time:

Adaptations from novels: They are not our main focus – and where we do them they have to be big, bold and different.

Classic plays we’ve broadcast recently: Please consult the accompanying list.

Minor historical plays which are chiefly of interest in relation to better-known plays, rather than as works in themselves.

History and biographical plays which are chiefly dramatisations of historical events, rather than authored works about characters.

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Your proposal

We require short proposals as a first stage of the commissioning process. These don’t need to be a summary of your full proposal. All we want is your title, a plot indication if necessary and a precis of why you want to bring it to Drama on 3.

Full proposal: Don’t spend too much time saying why the play is historically significant; instead say what you would do with it.

Successful proposals will make the case for a new production of the play, and must include the main features of your new interpretation.

Key casting suggestions will influence our selection – of course, we don’t expect these to be confirmed – but we are looking for striking, imaginative or high-profile casting ideas. Please give an indication of the extent of adaptation proposed, any particular challenges it raises, and whether or not the adaptation will be done by the producer or by another writer (and if by another, your reasons).

All supporting material must be submitted at the same time as the full proposal (please do not leave this for the commissioning team to chase up). Written material such as scripts (PDFs/Word documents) and audio material (Mp3 files) should be sent to lea.lauvray@bbc.co.uk via Dropbox. Please label such material: ‘PROPOSAL TITLE - COMMISSIONING BRIEF TITLE - SUPPLIER NAME’. If a script cannot be uploaded or if you have to send a published script in book form, please send this to: Matthew Dodd, Room 4021, Broadcasting House, London W1A 1AA similarly labelled. All supporting material must be accompanied by a completed ‘inventory of supporting material’. This form can be found on the commissioning website.

If the proposal is for new writing please include details of the writer’s previous work including any radio commissions, and it will strengthen your proposal if you submit an example of this work. If you want to work with a specific composer please give details.

Introduction to the Play

We require an informal, unscripted introduction of maximum two-minutes before all editions of Drama on 3, usually from the director or writer, or lead actor. If your proposal is conditionally commissioned we would expect you to discuss the introduction with the commissioning editor and if necessary factor it into the final budget and duration.

Editorial Compliance

If the play involves the portrayal of real people, strong or racist language, or other major editorial issues, this must be made clear in the proposal. All proposals should include details of the proposed Executive Producer who will be responsible for compliance.

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Budget

The guide price for Drama on 3 is between £15,000 and £18,000 per hour and we will be looking to commission programmes at different points along this scale. Please submit a price (you can now do so in the “Price per episode” field) that is realistic for your proposal, with justification if necessary.

At the point of commission a formal price offer will be made which, if accepted, will result in a contract being issued immediately at that price, without the need to have budgets analysed and approved.

Programme Descriptions

The minimum requirement for any commissioned programme is an arresting and pithy description that works well on the programme website; clear metadata; strong photographs of the cast recording where realisable and possible clip requirements. These core components are essential for any new play.

Credits

Closing announcements and cast details at the beginning and end of the play must be recorded and included within the duration of your drama. If they are not, and this omission has not been agreed with Radio 3, we will expect a new version to be delivered.

The opening sequence cannot be a plain reading by a single voice, since this is too similar to continuity. It might include a music bed or sound effects to establish the sound world of the drama. Listeners now hear Drama on 3 in a variety of digital formats and we cannot be sure they will hear the continuity announcements.

Duration

Please try and include a realistic estimate of duration in your offer. We will confirm the duration and slot with you when we agree the budget and confirm the commission. The total length of the recorded play and any live announcements will be one minute less than the overall slot i.e. a for a 90 minute slot we require a total of 89 minutes including announcements.

Radio 3’s schedule does give us more flexibility to accommodate changes to the original estimate if these are raised with us at least 8 weeks ahead of broadcast. We hope to offer listeners as full an experience of stage plays as possible. Although these may often be edited as part of the adaptation on editorial grounds we hope to avoid the editing of stage plays simply to fit a slot.

After commissioning any requests for a variation on the agreed duration must be raised with Matthew Dodd and David Ireland as early as possible and agreed in writing.

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3. Key Deliverables

Audio of the play, including an introduction – four weeks ahead of broadcast; strong cut- through image of the play for BBC Sounds; Proteus description that is designed for BBC Sounds; readiness to co-operate with BBC Radio 3 Comms and Marketing teams.

4. Success Measures

Clear audience impact; strong on-demand performance on BBC Sounds – particularly for over-45; critical and press attention; Reinforcement of Drama on 3 as an appointment to listen.

Compliance and BBC Editorial Guidelines

You will be required to deliver programmes that are in line with the BBC’s Editorial Guidelines and be able to adapt to the BBC’s changing editorial and business needs during the period of the commission.

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SECTION B: PROCESS, ASSESSMENT & EVALUATION

1. The Three Stages

STAGE 1: Short Proposal and Shortlisting

Step 1: Short Proposal • Your Short Proposal should be no more than 250 words and summarise your specific ideas. It should demonstrate your ability to produce the programme, and answer the editorial objectives and other requirements as set out in the Editorial Opportunity. • Enter your proposal in the ‘Short Synopsis’ section in Proteus before the deadline at noon on 24 June 2021.

Step 2: Shortlisting notification You will be notified of the outcome of Stage 1. Shortlisted suppliers will be asked to submit a Full Proposal. No feedback will be provided for unsuccessful proposals at this stage.

STAGE 2: Full Proposal

Step 1: We may issue further relevant programme production information to all producers reaching this stage. If sensitive information is being released then producers will be asked to sign a non-disclosure agreement (NDA).

Step 2: Producers will be invited to provide a Full Proposal, via Proteus, responding to this commissioning brief, which includes all the elements outlined in Section D (“Full Proposals”). For guidance, your Full Proposal should not exceed two sides of A4 when printed using Arial font, size 11. (Any scripts or samples can be in addition).

Step 3: Producers will be offered the opportunity to discuss the programme brief with Radio 3 Head of Speech prior to submitting their full proposal.

Step 4: We will evaluate all full proposals against the editorial brief, as given above, and commission those we feel most successfully fulfil the brief and help to make up the most varied and balanced season of Dramas on Radio 3.

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Step 5: Producers who are successful will be notified on Proteus. Feedback for rejected proposals will be also be given here. Further feedback can be requested at a later stage.

Note: At any stage of the process, we may need to come back to you to seek clarification. Your answers will be factored into the evaluation process as appropriate.

STAGE 3: Commission Awarded

THE EVALUATION TEAM

The following people will evaluate your proposal:

Matthew Dodd, Head of Speech Programmes, Radio 3

Alan Davey, Controller, Radio 3

David Ireland, Commissions and Scheduling Manager, Radio 3

Subject matter experts (e.g. production experts, network management, diversity, finance, etc.) may also be consulted.

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SECTION C: THE COMMISSIONING TIMETABLE

The commissioning process for this opportunity consists of a number of stages, as set out in the timetable below:

Stage Timings Activities Launch 1 June 2021 Publication of commissioning brief documentation and round opens in Proteus.

Short Proposals 24 June 2021 Deadline for Short Proposals to be submitted and shortlisting (midday) via Proteus.

1 July 2021 Suppliers shortlisted, notified of outcomes and asked to prepare Full Proposals.

Full Proposals 5-23 July Opportunity to discuss commissioning brief and shortlisting 2021 with Commissioners prior to submitting Full Proposals.

5 Aug 2021 Deadline for Full Proposals to be submitted (midday) via Proteus. Evaluation panel shortlists Full Proposals.

Conditional Oct 2021 Commissioning decisions made, subject to Commissions contract. Editorial specifications agreed. offered Feedback submitted on Proteus.

We will assess your proposal according to this timetable. Late submissions cannot be accepted.

If you have any questions about this commissioning brief that need answering before you submit your Short Proposal, please ensure you email them to [email protected] by 18 June 2021 at the latest.

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SECTION D: FULL PROPOSALS AND REFERENCE INFORMATION

Please refer to this important information on the Radio commissioning website, regarding submission of your full proposal, including guidance on how to set out your budget.

Proposals must be submitted in accordance with the requirements contained in this commissioning brief and on the commissioning website. Proposals not complying may be rejected by the Commissioner whose decision in this matter will be final.

All the information required should be included in the 2 pages of your proposal.

The BBC reserves the right at any time prior to award of a commission, and without incurring any liability to the affected suppliers, to accept or reject any proposal, or to annul the commissioning process, rejecting all proposals.

By submitting your proposal, you confirm acceptance of the key contract terms.

More information relating to all commissioning briefs and rounds, regardless of station, can be found on the Pitching ideas page of the Radio commissioning website.

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APPENDIX 1: Diversity & Inclusion

Diversity & Inclusion is a priority for ALL of us. We want BBC Radio & Music to be demonstrably the best organisation in the audio sector to work for and with. We are fully committed to making this a place where people feel welcomed, appreciated, respected, and that they can be themselves and produce their best work. We are interested in working with companies that share our Diversity & Inclusion values. BBC Radio has committed itself to spending £12m in the three years from FY21/22 on newly competed commissions that support at least two of the three priorities set out below. This is in addition to the many proposals that we will commission which meet only one of these priorities, as well as those that meet none of the three.

Please tell us whether, and how, your proposal and/or your company and/or (if yet known) the production team meet any of these three diversity priorities: i. diverse stories and portrayals, covering the nine protected characteristics plus social mobility ii. diverse production leadership - where ‘diverse’ includes ethnicity, socio-economic background and disability. iii. diverse company leadership - where ‘diverse’ includes ethnicity, socio-economic background and disability.

The full definitions supporting each priority can be found here and some FAQs here. For clarity, proposals will not be accepted or declined simply because they do or do not meet these diversity criteria. What you write in relation to them will be considered alongside all the other factors we evaluate when awarding commissions. Proposals that don’t meet the diversity criteria may still be commissioned on the strength of meeting the other assessment criteria in this brief.

If you are shortlisted and invited to submit a Full Proposal, you may wish to give us more detailed information with regard to the diversity priorities at that stage.

Our D&I commitments will help create an inclusive culture for all, increasing gender, ethnicity, socio-economic and disability diversity, and helping to deliver on the BBC's new 50:20:12 diversity targets for Gender, BAME and disability representation.

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