West & South West London Equity Branch June 2019 Newsletter
Seven Dials Club, 42 Earlham Street, WC2H 9LA (opposite Donmar Warehouse)
Next meeting: Wednesday 12th June 2019 at 7pm
[Image: BAFTA/Guy Levy]
We are very lucky to have BAFTA Award Winning script supervisor, Emma Thomas with us at our next branch meeting. Emma's career began as a clerk typist in the Elstree office of The Muppets, where she answered the fan mail of her boss, Kermit the Frog, before moving swiftly on to typing the transcripts for each of the shows. On Sunday 28th April 2019 Emma Thomas was recognised with a special award at the BAFTA Television Craft Awards for her services in script supervision. Emma has acted as script supervisor on some of the most beloved Television shows including Goodnight Sweetheart (1993-95), Birds of a Feather (1989-98), Benidorm (2007), Bad Education (2012), Luther (2010-11) and The Bill (2008). Emma has also worked on a raft of high-end International TV shows including The Bastard Executioner (2015), Tyrant (2016) and Guerrilla (2017). Most recently Emma was the script supervisor on Soon Gone: A Windrush Chronicle (2019) for BBC Four, a series of monologues that reveal the hopes, desires, achievements, shattered dreams and broken promises of a single fictionalised family over four generations.
AUDITION DAYS WORKSHOPS EQUITY DROP-IN SESSIONS
We have a fantastic audition day If you wish to apply for both sessions, On the 2nd Tuesday of every month coming up with theatre director please indicate which is your top choice (14.30-17.00) at the Actors Centre, Charlotte Peters. in case demand is high. Equity provides drop-in sessions which provide a safe and confidential space for Charlotte will be with us on 28th June. Both workshops will take place at Guild members to talk in. She has worked as an Associate Director House. £20 (£10 for first three registered on both the UK and international tours students/grad members). No appointment is necessary. 30-minute slots are available throughout the of Warhorse, and the UK and American Audition Technique for Theatre with session on a first-come basis. Just ask for tours of An Inspector Calls. She has Ruth O’Dowd, 10am-1pm, 21st June. Addam at reception. directed many shows at venues including the Park Theatre and This workshop will focus on audition Finborough. She is the Artistic Director technique for theatre and actors should PLAY READING come with a 90 second monologue of Brickdust along with our secretary prepared. The next reading will be on Friday 7th Larner Wallace-Taylor and has directed June at 1.30pm at Guild House. Larner in her brilliant show at the Audition Technique for Screen with Vaults. Carol Dudley - 2pm - 5pm, 28th June. The group will be reading Michael Frayn’s translation of Anton Chekhov’s The We have not one, but two upcoming This workshop will focus on audition Cherry Orchard. audition dates with casting director technique for screen and actors should Readings get heavily oversubscribed and Polly Hootkins in July. She will be come with a short 1-2-minute piece there are often limited places which are hosting two half day sessions for us on prepared. This can include duologues. offered on a first come, first serve basis. the 12th and the 19th July for us. To avoid disappointment, email Sarah If you are offered a place but can no To avoid disappointment, email Agha now on longer make it on the day of the reading, Ayvianna Snow on [email protected] please let the play reading team know so your place can be offered to another [email protected] and do Applications will be processed from 9th member. remember to send a link to either your June. Do remember to send a link to either your Spotlight or Mandy profile. Spotlight or Mandy profile. As always, you can email Freya, Jamie Please note, these opportunities are for and George at: Please note, these opportunities are for registered W&SW London branch [email protected] to RSVP, for registered W&SW London branch members only. more information or to suggest plays for members only. the branch to read at future readings.
OPEN DOOR THE CORONET THEATRE IN BRIEF
Thank you to any and all branch The Print Room in Notting Hill is Congratulations to any and all members who brought books along to reopening in its newly refurbished members who were nominated for – our April and May branch meeting to be building and will be adopting its or won! – at the TV BAFTAs last donated to Open Door. These books will original name too, The Coronet month. From the team that brought help minimise costs for their members Theatre. you The Bridge Theatre, plans for a when they receive their extensive drama new 600-seat theatre have been The Print Room won’t be completely school reading lists. revealed. Sir Nicholas Hytner and forgotten as their studio space will be Nick Starr will open their new venue This fantastic charity is still accepting keeping the name. in winter 2021 in London’s Kings donations. Have a look here for a Watch out for the theatre’s next Cross. Details of this year’s summer suggested reading list. cabaret will be released soon. Keep season which boasts a programme of not one but five UK or world an eye on your inbox and our social BACC FOR THE FUTURE CAMPAIGN premieres. media platforms and start brushing off your party tricks! The Rose
The English Baccalaureate, or EBacc, LET’S GET MENTAL Theatre in Kingston is at risk of excludes creative, artistic and technical At the May branch meeting, closure following the planned subjects from counting in school league withdrawal of funding from the members kindly donated and raised a tables and is undermining creativity in local council. Thank you to our Chair schools. total of £47.91. It was agreed by the Su Gilroy and secretary Larner committee that this would be Wallace-Taylor for representing our Equity is strongly supporting the rounded up to £50 and so this will be branch and to committee members #BaccfortheFuture campaign and is passed on the head son on to the Ayvianna Snow and Lola May who encouraging members to contact their student organisers of the 2nd June MPs. You can find out more information Let’s Get Mental charity inter-drama represented the London AGM at the
– and a template letter here. school football tournament. 2019 ARC in Belfast. Huge congratulations to Larner and Ayvianna, both of whom had their HUSTINGS motions passed. Star casting has been called into question once The Joint London Branches Hustings for the upcoming Committee Elections will take place again after it was revealed a well- on Thursday 6th June, the day after voting opens. The Hustings will be at Guild House. There will be two sessions, 11am-1pm and 2pm-4pm. This is your chance to see who you want to known celebrity will be replacing a vote for in the upcoming elections. Candidates will speak at one session or the other so why current cast member of a popular not come along to both? For more information on the event or access requirements, email Broadway transferred West End [email protected] musical for the summer. The London Palladium 2019 pantomime W&SW LONDON EQUITY BRANCH CONTACTS has been revealed. This year the panto will be Cinderella. OH NO IT On Twitter: @EquityWSWLondon On Facebook: www.facebook.com/groups/133672460073/ ISN’T! It’s Goldilocks and the Three Bears. The cast will include Paul Chair: Su Gilroy [email protected] Tel: 0208 785 6479 O’Grady and Matt Baker. This Vice Chair: Jamie Newall month sees Sir Ian McKellan turn Secretary: Larner Wallace-Taylor, [email protected] 80-years-old. Have you seen his Treasurer: George Staines, [email protected] Public Relations Officer: Alexandra Donnachie, [email protected] celebratory show yet? Happy Speakers: Joan Blackham Birthday from the WSW London Workshops: Sarah Agha, [email protected] branch, Sir Ian! The UK is currently Auditions: Ayvianna Snow, [email protected] looking to cast a new Prime Minister Social media: Nicky Goldie if any of our members are Play Readings: Jamie Newall, Freya Dominic & George Weightman, wswplayreading@gmail. interested. This is a paid role. The com Rehearsed Readings: Lola May, [email protected] Edinburgh Fringe Festival Students/Young Members: Larner Wallace-Taylor programme will be available from Plus: Rhonda Bachmann, Andrea Black, Eddy Cottridge, Clive Greenwood, Malcolm Ward the 5th June 2019.
LOOK OUT FOR…
MIMI J BROOKS Branch member Mimi J Brooks (Mia Tizzano) is producing and directing The Accalia Arts Festival Monologue Night at the Brockley Jack Theatre on June 10th at 8pm. Come and hear new writing from all female writers, including Mimi herself, and watch performances from other WSW London Branch members John Craggs performing Bee in the Rain and Beatrice Mori, performing Looking Down. Tickets are available on the Brockley Jack Website.
Mimi will also be performing in a comical musical extravaganza that looks at feminism today. Part of your Whole New World is an exciting cabaret which explores how to still love Disney and be a feminist in today’s society. Tickets for the event which will take place at Toulouse Lautrec at 7.30pm on Sunday 23rd June, are available here.
PADDY GLYNN Paddy is performing in Victorian Women in Bed, at the Calder Bookshop theatre on The Cut, 30th May - 1st June at 7.30pm
MIRANDA HEATH Branch member Miranda is understudying Zawe Ashton in the role of Emma in Betrayal at the Harold Pinter Theatre, the last in the Pinter and the Pinter plays. It’s already received brilliant reviews, so watch this space for news of any understudy runs! Betrayal has been extended and will now run until 8th June.
ADAM WITTEK Branch member Adam Wittek is currently appearing in the global phenomenon TERROR, a thrilling and interactive courtroom drama in which the audience decides 'guilty' or 'not guilty' (performed in 25 countries so far). Produced by Trinity Theatre, with performances taking place in an actual courtroom in Tunbridge Wells from 28th May to 16th June 2019. ANY OTHER BUSINESS
GEORGE WEIGHTMAN Branch member George has relaunched his showreel editing service, Grappling Hook Showreels, founded in 2015 and is keen to work with actors, directors, presenters and anyone else in need of new material. For more information, get in touch via the Grappling Hook Showreels website.
LONDON BRANCHES COFFEE MORNINGS Remember the Joint London Branches Coffee morning is the last Thursday of every month and this month’s coffee morning is at 11am on 27th June 2019 at the Green & Fortune Café, King’s Place, 90 York Way N1 9AG (the Guardian Building).
CASTING CALL Paul Davies of Volcano Theatre very kindly hosted an audition day for our branch last year and cast one of our members in his tour of Macbeth. He is now looking to cast one part in his new production The Populars. This is a six-week contract including two weeks rehearsal. The part Paul is casting is for a BAME actress and will replace a previous cast member. The show will be performed at Summerhall as part of the Edinburgh Fringe. The show is very demanding physically. It involves a lot of dancing, some of it improvised some of it choreographed (the other three actors are not dancers). There is text in the show which was developed as a result of the original rehearsal period. The Populars is a very upbeat, fun participative piece of work. Its subject matter is oblique but essentially concerns the atmosphere of our times – commitment, curiosity, the new and the old and how we feel in these uncertain, febrile times. The audience stand throughout the show and are moved around by the actors. It is a challenging piece but very pleasurable to watch and perform in.
Rehearsals are in Swansea, Wales and begin on the 15th of July. Show opens in Edinburgh on the 31st of July and closes on the 25th of August. Pay is above Equity Minimum and accommodation is provided in Wales and Edinburgh. Travel to Edinburgh and Swansea also paid. To apply please email [email protected]
Minutes of the West and South West London Equity Branch Meeting, on May 8th, 7pm at the Seven Dials Club.
Present: Larner Wallace-Taylor, Su Gilroy, Joan Blackham, Tom Lynam, Jamie Newall, Sarah Simmons, Elodie Pasqualini, Peter Charlton, Rus Kallan, Stephanie Shaw-Parker, George Weightman, Lola May, Penelope Lambton, Johnny Maya, Paddy Glynn, Felicity Trew, Victoria Seabrook, Lauren Anthony, Michael Robinson, Sylvia Carson, Rosemary Macvie, Claire Vousden, Hayward B Morse, Claude Starling, Nicky Goldie, Francesca Burgoyne, Rhonda Bachmann, Malcolm Ward, Tony Parkin, James Wrighton, Tara Dowd, Yasmin Choudhary, Pat Boothman, Jonathan Henwood, Mimi Brooks, Calum Perrin, Chandrika Chevli, Marie Collett, Jane Goddard, Annie Fitzmaurice, Marjorie Hayward, Sarah Agha, Maria De Lima, Addam Merali-Younger
Apologies: Alexandra Donnachie, Andrea Black, Andrew Macbean, Fiona Macpherson, Tim Block, Richard Evans, Lachlan Moyle, Adrian Grove, Sidsel Andersen, Michael Mears, Mary Drake, Debbie Bird, Andrew Candish, Fiona MacPherson, Richard Evans, Adam Wittek, Ayvianna Snow, Alice Kornitzer
GUEST SPEAKER – LISA SPIRLING, Artistic Director Theatre503
Hosted by Lola May Q: What did you do today?! LS: Well as you can see, I’m very pregnant! Our bathroom’s being done and we’re staying with friends, and I can’t count how many times I’ve been going up and downstairs! I’m up to my ears in the annual 503Five at the moment. It’s an 18-month attachment at the theatre for five new writers who haven’t yet had anything professionally produced. We’ve had 450 submissions which have been whittled down to 170; we need to get them down to 20 now. The writers send us an extract from or an idea for a play. We give them seed money to develop it and mentor them with workshops, one to one support, dramaturgical support and an opportunity to have their work staged.
Q: How did you start as a director? LS: Well I can’t act, I can’t stage manage or write. But I can direct, I can project manage, I can organize things. I studied Drama & Theatre at the Royal Holloway, University of London, then I had an office job for several years. Then I quit my job and went on holiday to Las Vegas! I did the LAMDA directors course in the late 90s, started assistant directing and also set up my own new writing theatre company (Buckle for Dust) and directed comedy group Idiots of Ants (starring our very own James Wrighton). I did quite high level associate director work in the West End, at the National and more, but really wanted to do my own work. I also did a lot of talent development – for example I co-ordinated the JMK Trust’s Regional Directors program.
Then in 2012 I directed a Michael Frayn play, Here. Steve Unwin (Kingston Rose Artistic Director) wanted to do it at the Rose and was on the phone to Michael Frayn’s agent to get the rights, while I was in the room pitching to direct it, with Greg Ripley-Duggan (Rose Assoc Producer) hosting the meeting. Steve didn’t know my work and Michael hated the Rose – he thought it looked like a space ship - and I didn’t know it was his favourite play. So there was Steve Unwin sucking up to Michael Frayn, me sucking up to Steve – but Greg had been Exec Producer at Headlong, where I’d been Associate. So we both got it. Alison Steadman was in it (it’s a three-hander) and it was a massive difference from theatre in the community, in prisons or youth theatre.
Then I didn’t work for a year!
By 2011 I was part of a directors group, had freelanced for 20 years and now wanted a building for my work. In 2003 Theatre503 had relaunched under its new name as a home for new writing; I’d done some reading and other bits and pieces for them. So when, in 2016, they wanted a new Artistic Director, it felt like a good fit.
Q: So the Las Vegas holiday marked a real change for you. LS: It was the first holiday I’d had in my 20s. I was working at the National as a Project Manager – employing other people to direct, which was what I wanted to do. So I quit. I gave up the day job. Q: You’ve had a long career so far; what’s changed for the better (besides #MeToo) and what for the worse? LS: I feel like in the last 15 years we’ve got better at not putting people in a box. I have friends now who are actors and writers. When I was a student we were taught to wait for the phone to ring, not self generate work. That’s changed; most of our conversations now are with people who do their own work. Also who’s making work is changing – it used to be one gender, one background. But there’s still a lot to do. For example with working hours. When I took over at Theatre503, we always did a 5pm show on a Sunday. Why? We don’t pay a huge amount, yet we’re expecting actors to work on Saturdays and Sundays. There’s loads we can still do around family life.
Q: How do you secure scripts for production? LS: We’re the only theatre which accepts unsolicited scripts. We receive around 3,000 plays a year. We have a team of readers as well as the Literary Team. Every two years we run an international play writing competition – last time we receive 2,000 plays from 41 countries. Once we’ve read them all, the top 5, 15 or 100 are incredible. But the reality is we’re unsubsidized and can only work project by project. Our business model is that we can only afford to pay people if we rent out the theatre (it’s ‘curated hire’, so it’s not just people who can afford it). Then three times per year we produce our own shows.
We’re rich in scripts. It used to be that the Bush, the Gate, the Royal Court Upstairs, the National Studio all worked with new writers. Now you very rarely see a play in a subsidized theatre by a new writer – which is great for us! And we match our writers with a director. Tearrance Arvelle Chisholm, who wrote Br’er Cotton, and Ross Willis, Wolfie, were both in 503Five and went on to have full productions.
Q: How do you keep your mind focused when you’re reading so many plays? LS: That’s like me asking you how you learn your lines! I don’t understand that! I’m not reading all the time – the Literary Team does that. I’m looking for a play I’ve never seen before, told in a way we’ve never seen before. I get excited if I find something original - that’s inherently theatrical. The ones I direct myself tend to be completely unstageable – for example Wolfie.
And we triage the plays. We might read 10 pages as a sample, then ask for the rest, or another 20 pages. You can get jaded. All our readers are unpaid, but we train them in dramaturgy, so are hopefully helping their progression. The Literary Team are our real heroes.
Q: Theatre503 has a reputation as a launchpad. As an actor, what’s the best way to get involved? LS: We don’t have a casting director. Actually our blind spot used to be finding and recruiting talent. When I took over we didn’t have a database – why? Now we have a record of everyone we work with. We also run Rapid Write Response (RWR) – a short play initiative open to writers of all levels of experience. You attend a full-run play in its first week; the tickets are only £5 and you meet the creative team, then write a 10-minute play inspired by the show. Deadline is the following Monday at 12 noon. Then the Literary Team select six to eight scripts to be staged at the theatre two weeks later. Of course, directors have their own ideas for casting if we can’t get someone.
But for an actor, the first port of call for us is Rapid Write Response – and then you’ll be on the list for a proper, 4-week play. And we’re now getting agents, casting directors etc coming to RWR too, so it’s building momentum. Of course Equity tends to have a thing about not paying. All our 4-week plays are paid Equity minimum, but with RWR – with maybe 7 writers and 7 plays – we can’t pay, although we’re trying to get funding for it.
Q: Regarding the play readers – do they work alone, from home? LS: Yes, it’s all done electronically. Never send a hard copy play! It’s all done via a portal on the website. Every play is read twice and the readers get together once a month. Then the plays go to senior readers, then to us. If you’re interested in being a reader, get in touch: [email protected]. When we do one of the competitions, we try to raise funds so as to pay the readers.
Q: When you receive a play you like, if you can’t do it yourselves, do you recommend it to other theatres? LS: We didn’t used to have all the schemes there are now – it’s great, but I think we’re schemed out! So yes, we have a lot of plays we pass to other companies. And there are a lot of literary managers now – their theatres get in touch with us. We’ve heard from theatres like the Sheffield Crucible, the Leeds Playhouse, the Traverse in Edinburgh. They say ‘we love this, but we can’t do anything with it’. Out of the five 503Five plays we work on, we hope to produce two at the theatre. So we recommend the other three elsewhere. There’s a lovely network in the fringe – we all help each other.
Q: What do you think of the hoo-ha recently about the National’s new season – with no female playwrights? LS: There was a row at the Hampstead Theatre when I was working there, too. I think there shouldn’t be a season without a 50:50 split. At the moment we’ve got 1 play out of 4 by a woman, so it’s not good enough – and we’re currently doing a huge Arts Council application to change this model. But the reality is that we’re sent more plays by men than women – and we’re the entry point, which is scary. Regarding the National, it’s correct to say ‘judge us on the whole year’. But how many of those plays with women writers are on a big stage? How do we change the mindset and the ambition of women writers? We did a writing scheme at Hampstead for 50% women, 50% men. But it was ALL men who asked for a commission. I’m not blaming women, but who has the confidence to introduce themselves with their work? But now we’re getting women applicants saying ‘I should be in the room, because I’m representing other women and we need to encourage them.’ That didn’t happen before – i.e. it’s not just about talent.
Q: My first job out of drama school was Woyzeck at the Gate. At the time Theatre503 was respected – it had won two Oliviers – but it doesn’t seem like that since. Why hasn’t it moved to a new space? It deserves more respect. LS: I think we missed the 90s boat. The Arcola, the Bush, all had new spaces, but I think we were last in, first out - in 2003/4 the Arts Council stopped supporting us as a Regularly Funded Organisation. We’re trying to move – but if we close tomorrow you’ve lost the launchpad for new writers. And we’re currently doing well via the Arts Council’s Catalyst: Evolve funding scheme, which we began three years ago, whereby they match the funding we are able to raise. We now have Patrons and Friends; we also know that the whole industry comes to the theatre now – people from TV, radio, publishers, other theatre companies. So we’re now sitting down with these producers and saying ‘you need to support us’. Our landlord is lovely – there’s a pub quiz every first Monday of the month and we often ask them to turn the mike down! Pubs generally are in dire straits and we bring in lots of people – who often drink and eat there too.
When I took over, Battersea Power Station was going to be our new space, then they said no. We’re desperate to sort this. Every week someone says ‘I worked at the theatre 30 years ago’ – but I love the space. I’ve been into lots of new theatres and they can be soulless; you don’t fall in love with them. And spaces like the library near the Bush are thin on the ground in Battersea – and we’re a local, Battersea, theatre.
Q: Is there sometimes tension between writer and director as to how to stage the play? Between the writer’s and director’s vision? LS: It depends on the relationship. I’m not a writer but a director – a midwife. I feel a responsibility to give the new writer the best experience possible, but it’s not necessarily easy. The questioning is rigorous and nearly always it’s the writer’s first play – they’ve never been in a rehearsal room before. For example with Wolfie, it was very painful for Ross, very personal. For example he wanted the actors in the audience, literally rubbing their knees. Then a friend came, who was visually impaired. He had his knees rubbed and it really frightened him. The reality is you want the audience to leave having had a great night.
Q: What’s your style, your expectation of the rehearsal process? LS: At Theatre503 it’s sometimes a 4-week process; I direct outside too. I spend a lot of time before going into the rehearsal room making sure the actors are up for it. I don’t do a read-through; I work through the show. In the first week we read it and make sense of it. If possible we move it, get it into our bodies as much as possible. We stagger through it every Friday. I’m big on chemistry; big on comedy. Like Mike Alfred’s book Different Every Night, you’re looking another human being in the eye. I’m always pushing to make it different, without throwing the baby out with the bath water.
Q: Going forward, is your passion still in the rehearsal room? Where would you like to be in five years? In a new building? LS: I only direct twice a year, so I cherish it. And now I’m a parent I won’t go out unless it’s worth it. I’ve got a job running the building otherwise; so directing less has suited me. I really miss the drama school gigs – you get a free pass to do what you like; it’s the dream. I miss the amount of actors I worked with, but I’m constantly putting actors in touch with others, facilitating. In five years? Yes, a building with resources. Running a building is a skillset, a habit, an extraordinary learning curve; I didn’t know I could do it.
Q: I’ve got my own company and with rent etc, it’s harder to pay actors. Is the fringe too big now? Has it become unsustainable? Are there too many venues in certain areas – like South West London. Maybe the audience just isn’t there, and isn’t sustainable in terms of community support? LS: Are there too many companies? Yes. Are there too many MAs? Yes. But everyone enters the industry in a different way. I think the necessity of hiring London property (as with Edinburgh), then maybe paying the actors, is bullshit. But if someone said ‘I’ll give you £500K per year and you can produce every show – it would mean we couldn’t get in other companies, who wouldn’t get the experience. So yes, there are too many actors, too many producers, too many plays. It was more worthwhile when we didn’t. When I graduated, I didn’t have debt. There were companies like Improbable and Complicité. You could go on the dole when you weren’t acting. Now there’s the rent or the mortgage, which are impossible. So you have a set of people who can’t continue. They get tired, they give up.
LS: Can I ask you a question? How do I make it better? (Claude Starling): I think with ethics, pay, caring about the environment, #MeToo – things are getting better. LS: I have a real problem with virtue signalling. I can’t ‘celebrate’ that we’re paying properly for the four- week runs, when we can’t pay for the shorter runs, or the competitions, or the readers. But the joy of 503 is that the people are there for the work.
Q: I’ve just returned to acting and I love the £5 tickets, the ‘Pay What You Can’ Saturday matinées, the Parent & Baby performances, the £10 Wednesday matinées, the writers performances. I’d love to see theatres like yourselves reaching out to young people, across schools, to get them to write. My daughter’s friend said that theatre is ‘too expensive’. We need to catch them early, broadcast theatre with marketing, to get a newer, lifelong audience. LS: Our audiences are predominantly under-35s. You’re totally right – and it’s where our marketing is aimed.
Q: Can we talk about the 503 Studio? LS: Yes, I want the equivalent of the NT Studio in five years, with paid dramaturgical support, so we can give new plays proper feedback, not just three lines, as happens now. I want no play to go into rehearsal until it’s ready; so we’re not spending the first week of rehearsal fixing it.
Lola thanks Lisa for coming; huge applause.
Su thanks Lisa and she receives rapturous applause. Su also welcomes those attending for the first time this evening.
Addam Merali-Younger Ian Manborde was due to attend the meeting but sends his apologies. Addam reports that Ian’s focus has been on the work that is going on in training and educational establishments. Ian believes that good practice is increasing but that support practices could be further established. Ian has also reviewed the ARC motions and the role he may be able to play in implementing them.
Addam’s role title is 'Membership Support - Bullying, Harrasment and Mental Health’. This includes a monthly drop in session in collaboration with the Actors Centre, monitoring a helpline and developing Equity’s resources on the website. Addam was contacted over 700 times since he started in January. Prior to the commencement of Addam’s post, 2015-2017 - Equity received 38 calls. This year, this number of reports was reached within 5 months of the dedicated helpline being in place. He reports word of mouth as the main attributing reason as to how people discovered the helpline. It’s vital that members continue to share its existence throughout their network so that people are aware that Equity is a place for them to report bullying, harrasment and bad practice.
Addam records basic statistics in terms of the predominant nature of the call. 35% of all reports were regarding bullying, 15% regarding harassment, 10% regarding abuse, 20% regarding poor mental health and 20% of reports were categorised as ‘other’ but may have related to mental health, addiction or relationship issues.
As we approach the end of the first quarter of Addam’s second year, he reports that he has received more than 50% of the number of reports received throughout the whole of last year. He believes that this is a huge testament to the work of the union and the work the volunteer networks are doing in spreading the word of Equity's support service however there is still work to be done. Addam does not believe that the increase in reports this year is due to an increase in the number of instances of abuse/bullying/harrasment occurring - but a reflection of an increase in the number of people reporting these instances.
What is the outcome of these reports? 10% of reports are passed onto colleagues who deal in industrial issues, 20% go to external organisations, 50% go to a mixture of both, 20% of contacts have wanted no further action. Addam gives those reporting issues the chance to air their experiences in a safe space - but believes it notable that 20% of those making contact do not wish to take their report further; Adam believes this is because they purely want their report to be acknowledged.
He’s contacted every drama school and every stage door in the country and has experienced a range of responses to his enquiries; from enthusiasm to... ‘we’re quite small, we don’t really deal in mental health.’ He’s also spoken at various events, schools and even in parliament. He’s also tried to establish strong links with charities in the sector. There are lots of peer activities within the arts, such as West End meditation but Addam believes we can do more to promote good practice.
Addam doesn’t believe there is anywhere near enough research on the mental health issues we face in the entertainment sector. There’s some great research coming out of Australia - which he believes the union can learn from. The 2015 Arts Minds survey in gave us a good starting point from which to focus our work, but Addam is currently working with Mind in the hope of launching an industry wide survey within the next year. Addam is also getting involved in branch activities at the Bristol & West England general branch who are hosting a wellbeing event.
Equity’s Safe Spaces guarantees that Equity will respond to all queries by the end of the next working day. In January 2020, Addam’s post may come to an end; if this happens, how do we continue the work that has been done so far and progress it beyond January 2020? The ARC is happening at the end of next week; this will coincide with the end of mental health awareness week. Addam submitted a proposal to run a mental health fringe event at the ARC to coincide with the end of Mental Health Awareness week however was told that they union didn’t want to put too much of a Spotlight on mental health given that it was unsure if the post would continue.
Equity has existed for 90 years because its staff and members continue to fight to improve the environments we work in and assess how we can be the best people we can whilst doing our jobs. Together we can create a safe space. Addam stresses that whatever happens to his role at the end of that two years, whether it continues or not, we are in a unique position to be pushing forward the agenda of mental health.
One member comments that they feel very strongly that Addam’s role should be continued within the union.
(N.B - There following discussion came under AOB - once Addam had left the meeting) Claude Starling also wished to reiterate his support for Addam and notes that the branch were instrumental in creating Addam’s post following a motion at the ARC two years ago. Claude is astonished by the figures Addam has produced which show huge numbers of members reporting instances of bullying, abuse and harassment to the union. Given the huge effect of the #MeToo movement in the past two years, Claude believes that we must implore the union to continue with Addam’s work. Nicky Goldie commented that she believed that the union were already winding down the post. Some said that staff at Equity never fully got behind the role and that the title of ‘Membership Support Assistant’ never fully acknowledged the aim of what the motion tried to achieve. James Wrighton commented that regardless of the cost, this is the money of union members, not Head Office, and that if activists knew about this they would strongly oppose it. George Staines reiterates that we've only just begun this work. Annie Fitzmaurice wondered if the branch could co-ordinate a concentrated email campaign were the post to end. It was commented on from multiple members that mental welfare is something that corporate bodies and trade unions are only just beginning to embrace and we must continue to do so wholehearted. There was a huge strength of feeling within the meeting that the role should continue and an informal vote was taken for the branch to support the continuation of the role following January.
Secretary Larner and Su will represent the branch at the Annual Representative Conference which will be held next weekend in Belfast. They will feedback branch thoughts on motions discussed in the April meeting. They will also propose the branch motion which asks Equity staff to work with SDUK to create clear job descriptions for the roles of of Assistant, Resident and Associate Directors in the hope that this will lead to fairer pay and terms. You can follow live on Twitter @equity_events
The recent motion from by the branch by Lachlan Moyle regarding cross union membership fees was defeated. Lachlan suggested a reduced rate membership for those who are members of more than one union.
Treasurer We currently have £4300 in the bank. We have just received £2400 from our quarterly claim in reimbursable expenses from Guild House (room hire, newsletter costs..), in addition to our annual £450 branch funding. The branch receives 25p per branch member and this caps at £450. This money contributes towards branch activities which are deemed to raise the profile of the union or support campaigning activities
Workshops Yesterday saw a branch workshop with Sarah Hughes, the casting director for much of Alan Ayckbourn's work. Simon Godwin - Romeo & Juliet - 21st May - just a few places left, email Sarah on [email protected] Rachel Sheridan - Casting Director - 4th June Ruth O’Dowd - Theatre Director - 21st June
Auditions Late June - Theatre Director - Charlotte Peters 12th & 19th July - Casting Director - Polly Hootkins Details will be included in the newsletter.
Playreadings The last reading was very well attended; a double bill of Nick Payne’s Constellations and Tom Stoppard’s The Real Inspector Hound. The next reading is June 7th - the play is to be announced.
Equity Class Network Working-class people are hugely under-represented in the creative sector. Social mobility is said to be 'at best stagnant, and at worst declining', with working class performers and creative practitioners facing barriers accessing work and making progress in the sector. Equity is setting up a Class Network to provide a space to share experiences and discuss concerns, to come together with others to campaign around measures that would make a difference. The London launch will be held on Thursday 23rd May. The purpose of the launch will be to bring together those interested in starting a class network; to exchange stories and experiences; to discuss what members would most like from a network; to determine its key priorities and particular issues on which to campaign. For more info & to RSVP email Chloe Alexander [email protected] Member Claude Starling believed that this information from Guild House was vague in establishing ‘working class’ criteria. Secretary, Larner believed that the event was for those who believed they faced socio-economic barriers to working in the sector.
TUC - London, East and South East Area (LESE) AGM Yasmin Choudhary reporting on the recent meeting. The LESE is one of many governing regions which make up the TUC. The event was held at TUC headquarters and was described by Yasmin as being a bit like a political conference.
One of the highlights of the meeting was a representative of the Justice for Grenfell group who reminded delegates that those involved in the tragedy were not getting the support originally pledged by the government, or what was required. Also on housing, a motion was carried to try and abolish ‘no fault’ evictions. This was widely supported.
Yasmin also remarked on the length of the meeting (10am-2pm) which was conducted without a break. She remarked at the meeting that she didn’t feel it was particularly accessible for those with invisible disabilities, or what would be expected from a working environment and appealed to members of the branch to support her in raising this.
Yasmin also referenced her t-shirt, which paid tribute to 1134 Bangladeshi women killed by the collapse of the Rana Plaza textile factory in 2013. https://cleanclothes.org/safety/ranaplaza
University of London Survey - Making An Appearance The Women’s Committee, in association with Royal Holloway University Drama Department, has launched a survey on body image and the kind of activities professional performers undertake to create or maintain their appearance for the purposes of work. They’d like to hear form performers of all genders, ethnicities and ages about experiences of creating an appearance for work. You can find the survey here https://rhulpsychology.eu.qualtrics.com/jfe/form/SV_3qidf10YWuvBBQh
Council Report - Jamie Newall April
• Padraig Murray, President of Irish Equity, invited to speak at the 2019 ARC. • Discussed the marginalisation of British Chinese and East Asian performers and creatives • Approved a proposal from the Women’s Committee for the use of the unknown funds on their #Equity4Women initiative • Discussed ongoing negotiations on the PACT TV and Cinema Films agreements and on the West End Theatre agreement. • It was decided to write to RADA regarding auditions in Scotland, Northern Ireland and Wales as it increases the cost of attending for those travelling to England to audition. • Discussed stalking guidance, as raised by the East of Scotland branch at the 2018 ARC • They proposed motions at the ARC revising rules surrounding eligibility in Council elections (candidates must have worked in the relevant field of a work during the three years prior to the closing date for nominations). They also discussed the non-party political, non-sectarian status of the Union and appeals and disciplinary procedures. • Equity Staff were asked to investigate establishing a casting forum involving casting professionals, agents and staff. • Discussed the effectiveness of the online branch
May
• Agreed to establish a Class Network with the aim of improving access and career sustainability • Approved the creation of a new Glasgow general branch • Discussed the 2018 Annual Report • Agreed to publish guidance on stalking following the East of Scotland’s motion at the 2018 ARC • Agreed to write to ITV regarding the broadcast of the obituaries at the 2019 Oliviers. • Discussed negotiations on the West End, Commercial and Subsidised theatre, PACT TV and Cinema Film agreements.
Committee Elections Hustings
Elections are taking place for the Industrial, Equalities, Specialist and National Committees. These are an important part of the union’s democracy and a dynamic force for change. With the support of the Equity Council they drive the union’s policy making and ensure that the voice of working members is heard at the centre of the union’s work. These are broken down as such: Industrial Committees: Screen and New Media; Stage and Variety and Circus and Entertainers. Specialist Committees: Audio; Dance; Singers; Stage Management and Directors & Designers. National Committees: Scotland, Northern Ireland and Wales. Equalities Committees: Deaf & Disabled; LGBT; Minority Ethnic; Women’s and a Young Members’ Committee. Voting will take place from 5th June to 12th July. A hustings event will be held organised by the Joint London Branches. It’s a great opportunity for members to meet the candidates and ask them any questions they may have. It’s open to all and will be held at Guild House on Thursday 6th June. Candidates will be invited to speak for 1 minute, followed by Q&A. If they’re unable to attend, they can send a link to a short video, and / or photocopies of a written statement. For more information and to let them know if you’re planning to attend contact [email protected]
AOB Equity are supporting the Bacc for the future campaign • The English Baccalaureate, or EBacc, excludes creative, artistic and technical subjects from counting in school league tables and is undermining creativity in schools. We're encouraging members to contact their MPs. You can find a template letter on the Bacc for the Future website https://baccforthefuture.com/write-to-your-mp • Paddy Glynn is performing in Victorian Women in Bed, at the Calder Bookshop theatre on The Cut, 30th May - 1st June, 7.30pm • George Weightman showreel services are available at Grappling Hook.
Minutes (meeting) Larner Wallace-Taylor Tweeting (meeting) Nicky Goldie Minutes (Speaker) Malcolm Ward Tweeting (Speaker) George Weightman
THE NEXT BRANCH MEETING WILL TAKE PLACE ON WEDNESDAY 12TH JUNE 2019. OUR GUEST SPEAKER WILL BE EMMA THOMAS.