www.equity.org.uk AUTUMN 2020

Filming resumes HE’S in Albert Square Union leads the BEHIND fight for the circus ...THE Goodbye, MASK! Christine Payne Staying safe at the panto parade

FIRST SET VISITS SINCE THE LIVE PERFORMANCE TASK FORCE FOR COVID PANDEMIC BEGAN IN THE ZOOM AGE FREELANCERS LAUNCHED INSURANCE? EQUITY MAGAZINE AUTUMN 2020 IN THIS ISSUE

4 UPFRONT Exclusive Professional Property Cover for New General Secretary Paul Fleming talks Panto Equity members Parade, equality and his vision for the union 6 CIRCUS RETURNS Equity’s campaign for clarity and parity for the UK/Europe or Worldwide circus cameras and ancillary equipment, PA, sound ,lighting, and mechanical effects equipment, portable computer 6 equipment, rigging equipment, tools, props, sets and costumes, musical instruments, make up and prosthetics. 9 FILMING RETURNS Tanya Franks on the socially distanced EastEnders set 24 GET AN INSURANCE QUOTE AT FIRSTACTINSURANCE.CO.UK 11 MEETING THE MEMBERS Tel 020 8686 5050 Equity’s Marlene Curran goes on the union’s first cast visits since March First Act Insurance* is the preferred insurance intermediary to *First Act Insurance is a trading name of Hencilla Canworth Ltd Authorised and Regulated by the Financial Conduct Authority under reference number 226263 12 SAFETY ON STAGE New musical Sleepless adapts to the demands of live performance during the pandemic

First Act Insurance presents... 14 ONLINE PERFORMANCE Lessons learned from a theatre company’s experiments working over Zoom

17 CONTRACTS Equity reaches new temporary variation for directors, designers and choreographers

18 MOVEMENT DIRECTORS Association launches to secure movement directors recognition within the industry

20 FREELANCERS Participants in the Freelance Task Force share their experiences

Key features include 24 CHRISTINE RETIRES • Competitive online quote and buy cover provided by HISCOX. Outgoing General Secretary Christine Payne 18 • Annual or short period cover available. steps down after 40 years at Equity

26 IN APPRECIATION 26 Tel 020 8686 5050 VISIT SHOWTIMEINSURANCE.CO.UK Equity members remembered

Where and when you need it! 33 PRESIDENTIAL OPINIONS Maureen Beattie talks about her father Johnny First Act Insurance* is the preferred insurance intermediary to and the future *First Act Insurance is a trading name of Hencilla Canworth Ltd Authorised and Regulated by the Financial Conduct Authority under reference number 226263 4

2 equity AUTUMN 2020 www.equity.org.uk www.equity.org.uk AUTUMN 2020 equity 3 UPFRONT First steps to recovery Equity’s new leader sets out his vision for the union’s role in reviving the entertainment industry

employed, the inadequacy of arts funding, the industry still further and impose Paul W Fleming billionaire producers not giving an inch permanent changes to terms and General Secretary without a fight, the unrepresentative conditions – to threaten the very existence nature of a slow return to work – these of our agreements and the union itself. are our bread and butter. Equity is here However, we have a plan. Sending our FOR EACH OF US AS INDIVIDUALS, not merely to fight for members during army of pantomime dames – the moral the past six months have been tough. the coronavirus pandemic, but to end mothers of the nation – to Parliament Many members haven’t stopped working the pandemic of precarity that has for shows the pragmatic campaigning path to – whether it be caring in the home, taking too long plagued working people in our a stronger industry. We are strengthening up unexpected second jobs or hibernating industry. and reviewing our communications to in home studios. Equity staff have To be fit for that fight, we have to get a higher profile than ever, and we are laboured tirelessly too in makeshift offices genuinely unite members from every there in the face of government. – their kitchens, gardens and bedrooms background. If we aren’t the authentic We are battling to get members back – while caring for family and friends. voice of our black members, members into workplaces so we can flex our Activists, deps, committees and branches of colour, disabled members, women industrial muscle like never before. We have pushed innovation in organising and members, LGBTQ+ members, working have even modernised our insurances education to new limits – very often with so variety members can use their talents an unexpected pet or child muscling into online, and get working to save the venues the latest campaigning Zoom. our communities depend on. The lessons All of us have struggled with our we have learned in lockdown have made mental health, lost chances to share our us better connected as a union, better skills and wrestled with our inability to SENDING OUR ARMY informed – and even angrier about hug our relatives and friends. We know OF PANTOMIME injustice. people who have lost lives to this terrible The public and the whole union disease; we know talented artists of every DAMES – THE movement are with us, despite what those profession forced to give up the careers who would seek to divide us say. Our they love. MORAL MOTHERS audiobooks lifted nurses’ spirits on the If we were just individual working OF THE NATION – TO way to work. Online content was relief people, we would be broken. But we are for parents and carers each evening. not: as a collective of artists and trades PARLIAMENT SHOWS Children’s parties haven’t been the same unionists, we have been made strong. THE PRAGMATIC without live entertainment. The work Sticking together we saved shows and Equity members do has never been shown theatres, won remuneration for new CAMPAIGNING PATH to be more essential, and your union is online content, got TV shows safely back building alliances so government and to work, and tackled harassment and TO A STRONGER engagers understand that. abuse in casting processes. We have paid INDUSTRY Your Equity diary for 2021 is enclosed out more than £1million to members in this magazine, and I’ve already written in need – money which came from the in mine a personal motto, which inspires union, alongside ordinary members class members, we are not realising our and reassures me, and I hope it can do the donating a day’s pay from a supermarket full potential. For the times we haven’t, same for you: job. This isn’t charity for people who are I’m sorry. As your General Secretary I’m Every working person has the right to be vulnerable; it’s solidarity to make us all committed to making changes to ensure an artist. strong. our voice is the full-throated roar of every Every artist has the right to a dignified Covid has put us in unprecedented working person in our industry. working life. situations, but in many ways it has Looking ahead to the next six months, The cause of labour is the hope of the merely shone a spotlight on the battles we face greater challenges still. Bad world. Equity has fought since 1930. The lack producers and the government will try In solidarity,

of care from government for the self- to capitalise on the crisis, to marketise PWF MARK THOMAS PICTURES:

4 equity AUTUMN 2020 www.equity.org.uk www.equity.org.uk AUTUMN 2020 equity 5 FEATURE SLUG CIRCUS RETURNS

In May DCMS announced that circuses – unlike funfairs, cinemas and restaurants – could not reopen on 4 July. Equity successfully campaigned to overturn this decision

ith the world such a miserable, uncertain place, the escapism and innate joy of the circus is needed more than ever. Circuses should be performance spaces that are Wless hampered by the restrictions around Covid, as open air spaces where social distancing can be adhered to more easily than indoor theatres, restaurants and cinemas. But in lockdown, the Department for Culture Media and Sport (DCMS) treated circuses differently to funfairs – in June Christine Payne wrote to DCMS outlining the unfairness and lack of logic in allowing funfairs to reopen on 4 July, but not circuses. “A circus is effectively an outdoor event. The tent is simply a roof. Its walls can be opened, lifted up to provide ventilation, rearranged to provide exits at frequent intervals. There are no narrow corridors where people might pass too close. Seating is made to be set up in any configuration,” Payne wrote. “The whole thing is designed to be rearranged at a moment’s notice. It is what has been done down the years as circuses move from town to town. Other elements – the ticket office, the toilets, even the catering facilities – are outside the Big Top in the open air.” Once the government relented, in July, Equity campaigned against local authorities that refused to honour pitch sites promised to circuses. The ongoing uncertainty for circuses on what they could and could not do - alongside the nationwide lockdown, and localised lockdowns in areas with Covid spikes - continued to impact all performers and people involved in the sector. In August, General Secretary-Elect Paul Fleming was invited on to both the BBC and TalkRadio to talk about Equity’s campaign for more clarity and support for circuses. Dan Wootton on TalkRadio echoed Equity’s concerns: for many children, especially those in working class families, it is the only live art form and performance they will see all year, and remains an inclusive category of performance, travelling to all CANNON regions throughout the year. Equity’s organisers will continue campaigning for more clarity from the government on circuses and proper support, until parity is achieved, ministers listen and act, and circuses are treated with the FODDER? respect and given the support they deserve.

6 equity AUTUMN 2020 www.equity.org.uk www.equity.org.uk AUTUMN 2020 equity 7 FILMING RETURNS

ockdown was huge wasn’t it? All of us dealing with our own walls, lengthened chats to friends and family by phone or Zoom, our FILMING IN THE Christmas & Greetings Cards Lown individual mental approach to a new confinement, with very little let-up save for an hour of outdoor exercise and a nip to the shops if necessary. And finally a release was NOW ON SALE announced – albeit a somewhat confusing TIME OF COVID announcement – when it still didn’t feel safe able to hug each other. We had agreed A lot longer! Directors and directors of in the outside world. beforehand that we didn’t want cleaners production have had to rethink their It was at this point that the nerves really in our dressing rooms. So the BBC left us training, creating shots in a new fashion. began to kick in for me and I felt more a cloth bag each, which contained a roll As actors, all we can do is be patient. paranoid than I had ever felt in my entire of bin-liners, anti-bacterial spray, cloths, This new approach in filming is life. How were we possibly going to be safe hand sanitiser, and a pump-bottle of intriguing to say the least. At times it on the set of EastEnders when there are hand soap. I went in early, armed with a even feels like the safety is getting in the so many people having to work in such new vacuum cleaner I had bought for my way – but we cannot, and will not for the close proximity? Where our characters are room, and blitzed it like a demon. This day foreseeable, relax the new strategies. It prone to a bunch of emotional outbursts certainly helped to allay the fears I had. is incredible what is being achieved. The Santa’s Swim and aerosol from our lips can be projectile One-way systems had been put in place; visual style of the programme has adapted Too Much The Old Vic by Ann Penfold and volatile, where we physically fight, hand-sanitiser stations at the main doors and seems to have given it new energy by Grant Cathro by Ann Stanwell 10.5cm x 14.8cm (A6) £6 13cm x 18cm (5’ x 7’) £7 and have to kiss each other? Are we being to use on entering and exiting; the green- and life, in a way that is certainly quality 14.8cm x 21cm (A5) £7 thrown into a high-risk health pit? room area cleared completely; two‑metre over quantity. The mindset of EastEnders distancing being adhered to and enforced has been to not focus on the virus or by the first assistant directors; our lockdown, for it to be alluded to, but to costumes left for us outside our dressing continue in a world of Walford normality rooms in a cloth suit bag with notes on in these abnormal times. And, so far, personal white boards of continuity with the measures we are using seem to be IT IS INCREDIBLE jewellery, shoes, and accessories. And we achieving just that. WHAT IS BEING now all do our own hair and make-up. If Tanya Franks plays Rainie in EastEnders there is something impossible for us to ACHIEVED do ourselves, like a wound or a specific hairstyle, then PPE is worn by the make- up supervisor to be able to assist. Our producers did their very best As for the actual filming itself, we all Suspension of Disbelief to console our fears, but it still felt have to think and work in a new creative by Edward Petherbridge Robin unimaginable, and I knew a leap of faith way. Acting on instinct sometimes has 14.8cm x 21cm (A5) £7 Nativity by Hazel Ellerby Courtesy of Image by Design was being asked of us. I rationalised it in to be compromised; it now just isn’t 14cm x 14cm £6 my head by considering that actually, with always technically possible. We are using 12.6cm x 12.6cm £6 all the precautions being put into place Perspex screens that are tall enough to – the two-metre social distancing, the be two metres away going over the top, hand sanitiser, the removal of the green- from mouth-to-mouth. This allows us room area, etc, etc – we were probably to look as if we are right next to each going to be safer than at any other time other, and even kissing. We are doing a before. That not only will we be protected lot of conversing with tennis balls on a from Covid, but also from the common stand, so much so it may have put me cold, Norovirus, cold-sores, the lot! off going to Wimbledon for a few years. We were called in for a Familiarisation This allows a split-screen to be spliced Day, in small groups of seven or eight, together and patched in by shooting a to be able to keep our distance. I hadn’t plate shot. We have had our partners First Night even been into a supermarket, so this in at times doubling so we can shoot Sweeping the Stage by Nat Young was the first time I was facing more than scenes of holding hands, hugging, and by Barbara Peirson 13cm x 18cm (5’ x 7’) £6 one person at a time in 15 weeks – it was touching. Supporting artists from same 16.5cm x 16.5cm £6 weird. Seeing your colleagues and friends households have also been used to after so much downtime and not being double for us. It all takes longer. Buy online: www.actorsbenevolentfund.co.uk Call: 020 7379 6460 Prices are for packs of 10 cards, including P&P charges within the UK www.equity.org.uk AUTUMN 2020 9 Registered Charity No. 206524 equity

2895_ABF_ChristmasCard_Advert_2.indd 1 21/09/2020 12:36 MEETING THE MEMBERS EQUITY CAST VISITS RESUME BENEVOLENT Marlene Curran, our Recruitment and Retention Organiser for Scotland and FUND Northern Ireland, is back on the road for Equity’s Our Benevolent Fund exists to support members in times of hardship, and the first set visits since the effects of the coronavirus pandemic on our membership have been profound. Covid pandemic struck

• Any Equity member in benefit may apply for a grant to assist with urgent one-off unday 30 August saw Belfast-based expenses such as bills – water, electricity, food, heating, etc. TV drama Line of Duty resume • Any Equity member in benefit may apply for assistance with paying their subscription filming after shutting down due to if they are unable do so due to the pandemic. Covid. Part of my role as Recruitment Sand Retention Organiser is to visit every TV,

If you can make a donation to the Benevolent Fund to assist fellow members in times of film and theatre production in Scotland hardship please do so. You can apply for assistance, or make a donation, via the Equity and Northern Ireland – to engage with www.equity.org.uk/benfund members and non-members, updating website at members on the work of the union, listening to any concerns members may have while introducing non-members to the union, even during a global pandemic. 3 September was my first cast visit since March. I flew Special Representative over to Belfast from Edinburgh – as much as I was apprehensive about the flight, it’s Leah MacRae (left) and Conference 2020 Sanjeev Kohli (right) HELP extremely important to me and the union Observers that members see and feel that Equity is doing all we can to support their safe return dramas. Before production was halted real example of the importance of YOUR Equity’s Special Representative Conference (SRC) will take to work. That includes visiting members’ the membership density was 85%; during membership.” place online on Monday 30 November 2020. FELLOW The SRC brings together your elected representatives workplaces. lockdown, working closely with actor and During lockdown Equity was involved from across Equity’s branches, committees and Council to Derek Donohoe, line producer of Line Equity deputy Iain Robertson, we saw that in producing a set of guidelines for the STUDENTS review the union’s progress and to make policy. Any member, of Duty sent the following email after the figure rise to 96%. resumption of TV production. Included including student members, can attend as an Observer. visit: “I just wanted to say thanks to you Iain said: “As a cast we know how hard in that document is the statement “There BE AN EQUITY DEP If you would like to be an Observer (no voting or speak- for taking the time to come out and visit Marlene and her colleague Cathy Sweet are specific groups of people that may ing rights) please complete the form below and return it to us. We really appreciated your visit and worked during lockdown, ensuring we need access to a set including trade union Equity. Places will be allocated on a first-come, first-served to get your kind words during the visit received a fair payment from the BBC. representatives and essential visits of • Receive training to support fellow basis and we only accept applications made on this coupon. students and act on their concerns Thank you. and the subsequent email was a huge To bring the membership up to 96% agents or professional advisors. Visits confidence booster for us all. We have during a global pandemic and when the should be made in line with the safety Equity name • Network with student deps from worked really hard to establish how we cast weren’t working was no mean feat measures introduced for the location.” all over the UK Equity No work safely in this Covid world and of but shows the commitment the cast has I have with no doubt that without course this has changed a lot for all the towards the union. Without the union Equity’s input to this new guidance it • Champion the union’s cause Address teams.” we’d have been in a very difficult situation would have been harder to push for • Recruit fellow student members River City, Scotland’s only continuing financially and it’s only right that those a workplace visit during the current from your school Email drama, returned to work on Monday who were to benefit joined their union”. pandemic. As a union the safety and • Represent your peers 24 August and I arranged to visit the River City actress Leah MacRae said: well‑being of our members is paramount, • Shape the future of Equity I have been selected by my branch as their official Observer Yes/No cast on Thursday 10 September. Equity “I’ll never forget the help from the and it was very reassuring to see first- My branch membership is extremely important to union, they really fought our corner hand the new Covid-safe procedures and Please mark your envelope “SRC OBSERVER” and return by the cast of River City, demonstrated by during lockdown. This is the second protocols both these productions have put Email [email protected] 2 NOVEMBER 2020 to SRC Observers, Equity, FREEPOST RTKS- the show having the highest percentage of time my union has helped me financially in place. BRUB-LYJR, Guild House, Upper St Martin’s Lane, London WC2H 9EG membership of all of the UK’s continuing in unforeseen circumstances. It’s a Marlene Curran

10 equity AUTUMN 2020 www.equity.org.uk www.equity.org.uk AUTUMN 2020 equity 11 SAFETY ON STAGE KEEP YOUR DISTANCE uring the coronavirus crisis, it has We visit the cast and crew of new musical Sleepless, who been doing, away from work as well, been easy to feel hopeless about is successful – we’ve had zero positive the future of our industry and have adapted to the many changes that have had to be cases for a number of weeks now. This

worried about when work might brought in to get their show up and running SOPHIE MARTIN makes me feel proud of the efforts of each Dreturn. Pessimism has become the norm department and what they have done, as news of more closures trickles through, of working, our visit was different to the socially distance, work safely, and put on but also my team, who are constantly and the government remain tight-lipped norm too. We were given a Covid swab a successful production. disinfecting and wiping down props to about how they propose to help theatres on arrival and asked to wait an hour for Luciano Macis, stage manager for the make sure that no prop is ever handled and performers. A number of open-air the results to come through, lest we infect production said: “From start to finish, the twice without being cleaned.” theatres have been able to put on shows, but anyone else. Once the negative result process has been highly intense but also understandably very few indoor theatres was processed, we were given a wrist very strange. Like we all know already, Mentally tiring have staged any productions, or even set a band, and waited for the rest of the cast to no contact and wearing masks heightens The whole experience has been a positive date for when they might. The government’s have their tests and receive their results. everything and makes it that little bit one for Macis and his team, he says, ever-changing guidelines for the live Everyone kept their masks on for the harder. We have been constantly assessing mulling on the advice and feedback he performance industry has left pre-existing duration of the talk, and social distancing and observing the health and safety would offer fellow performers after the plans up in the air and leaves our members was, of course, fully enforced. measures in place – it’s in our nature production. “When the industry goes with even more uncertainty. The exception Not only were we able to speak to the as stage management to implement all back, take care of yourselves and your to the rule? Sleepless. cast and crew – all of whom seemed protocols. mental state. The transition back from The new musical, staged at the Wembley relieved to be back at work, and safe under “I have to acknowledge how amazing non-theatrical work is mentally tiring Troubadour for the past month, has the workplace conditions and health our Automation, Sound, LX, Wardrobe and intense, especially as stage manager,” enabled dozens of our members to return and safety guidelines they were working and Wigs departments have been. We Macis told me. to work in the midst of a global pandemic. under – we were also given a tour of the all rallied round and developed the “I’m so grateful to have had the The road back to work hasn’t been easy facilities to view the adaptations firsthand. guidelines that are now our daily routines opportunity to trial this and so fortunate for our members; they are all tested daily One-way systems, masks being worn at and form our health and safety guidelines. that we succeeded despite some of the for Covid, and the stage management all times other than on stage, and extra Leading on this as a team of people who limitations we had but, most of all, I’m

and technical teams had to swiftly dressing rooms all enabled members to are living and experiencing the work has DOMINIQUE PLANTER fortunate for the team I had that worked develop health and safety guidelines in a ensured we’re all as protected as possible.” so hard to keep the company safe. completely new and unparalleled working Initially, members were offered “From the audience’s perspective, no environment. Every day they are faced testing weekly, or twice a week. After our one will ever see how much work every with challenges and complications as they members expressed concern about the member of the technical department incorporate the latest guidance into their frequency of the testing, this was raised to are doing, and have done, to keep the brand new and constantly developing daily. The fact that the virus is very often company safe on stage and not have an health and safety policies. asymptomatic was key to their concerns. impact at all on their performance.” The shift to daily testing has been In this production, the strength of the Problems and concerns incredibly well received by members, membership was absolutely crucial, and As is the case for most live and recorded giving them that extra peace of mind while has enabled us to fight for decent productions, we arranged an Equity the country is mired in a pandemic, so conditions, daily testing and much more. visit during rehearsals – an opportunity they can focus on their work without fears We’ve worked constantly with the Equity to check in with our members, giving around safety, infection, or passing on Deputy from the production, the stage them the chance to raise any problems the virus to their families and loved ones. management team and the casts to ensure or concerns directly with us, but also Macis continues: “I’m very grateful to be they feel both safe and represented. With to investigate what this new world of tested every day, especially as we’re the membership in the West End currently at work could look like while the world was first show back with these new guidelines. its highest ever rate at 85%, the strength of gripped by a virus with no vaccine. As I do think that now, after several weeks, the union is more evident and important

with our members experiencing new ways SOPHIE MARTIN it has proven that everything we all have SOPHIE MARTIN than ever before.

12 equity AUTUMN 2020 www.equity.org.uk www.equity.org.uk AUTUMN 2020 equity 13 ONLINE PERFORMANCE THE POWER OF CREATION ew people would claim this year When lockdown hit, Oxfordshire-based theatre company converted into a working environment has been anything close to what which restricts the freedom of movement they imagined. For many of us, Creation Theatre began to produce new made-for-digital of the people they live with. What it is we’ve been forced to work from work for Zoom. Equity Magazine found out more from reasonable to expect of a worker, and Fhome – if we’re lucky enough to work at how to abide by equality and health academic and author Pascale Aebischer all. Video calls, previously hated by the and safety legislation needs to be quite self-conscious, have become a completely were the digital experiments at the RSC, what drove me to reach out to Creation thoroughly re-thought in this new normal way of life: mentions of the video which alongside its broadcasts had also Theatre’s Lucy Askew to propose carrying environment, which is why we worked meeting app Zoom are ubiquitous, when started to produce made-for-digital work out this research, was the realisation that with Equity representatives to set up some the majority of people had barely heard of (e.g. a Twitter production of Romeo and this way of working offered a way out for employment guidelines. it before. Theatres are threatened with huge Juliet in 2010, and a Google+ virtual forest companies and freelancers because it income loss and possible closure due to the for a production of A Midsummer Night’s meant they could continue to create new, What next? pandemic, and actors and performers have Dream in 2013). live work, and be paid a reliable wage for We have now published the first of faced staggering financial difficulty. Creation So when lockdown started, I was doing so. two reports about our work; it can be

Theatre approached the global pandemic by immediately struck by the fact that, THEATRE CREATION PICTURES: downloaded from the Creation Theatre meeting the new normal head on: exploring whereas the bulk of theatres went to What did you think you’d learn from the website. The report contains a digital theatre and Zoom together, and researching work on opening up their archives of experience? Were there any surprises or collaborative ways of working that were was finding out that Creation Theatre and toolkit which includes advice by Creation how audiences and actors alike perceived past broadcasts and were asking for unexpected insights? previously difficult simply because many of its audiences see a longer-term Theatre staff based on their experience of the performances. Pascale Aebischer, an donations, which presumably were going My hope was that we would learn of geographical distance and time future in digital theatre: even if physical going digital, guidelines on employment, academic specialising in the research of to help the institutions but not necessarily something about how theatres might constraints. This allowed Creation Theatre theatre were to become possible again and a checklist for performing on Zoom. theatre and technology and the author of the performers who appeared in those find a quick fix to bridge them over the to be more resilient than other companies, without social distancing, the discoveries It also includes preliminary audience the study on Zoom working, spoke to Equity broadcasts, there was one company – current crisis, and that we would be able and to continue to programme new work made from working with digital media, research that provides evidence of magazine about the project. Creation Theatre – that immediately to find that this new way of working was and employ freelancers, who were able to the collaborations that have become perceived value-for-money and the started to produce new made-for- tolerable in the circumstances, making it a earn Equity wages. possible, and the thrill of connecting viability of charging for live performances. How did the project start? digital work on the Zoom platform on a viable interim option. But what we found We also found that there were across geographical distances mean that In an environment in which government Lockdown and the first wave of the ticketed basis. It was also plain to see that from working with Creation Theatre and real well‑being benefits for both the many audience members look forward support is mainly directed at supporting pandemic coincided with the end Creation’s way of working hit a chord, exploring the audience responses to their performers and the audiences, perhaps to watching digital theatre even when institutions and venues, this offers of a seven-year research project on with the company able to put on many Tempest was much more encouraging because the performance we were physical venues reopen. This points genuine hope for continued employment how technologies of performance are more performances than initially planned, than that: it is that there is a business examining happened during the harshest towards a future in which a hybrid of of freelancers in the industry. transforming how audiences experience audiences gushing on social media about model here which makes such significant phase of lockdown. The experience for physical and digital performance could We therefore expect that our work Shakespeare and the plays of his the visceral experience of having been financial and time savings on things both groups was a profoundly emotional be how companies can build resilience will help other UK companies see a contemporaries. What I found was that able to watch live theatre in lockdown, such as office and venue hire, organising one which they appreciated for the into their business model and cope way of shifting at least a part of their not only had theatre broadcasts, such and critics in the UK and North America physical access to performance sites, sense of connection and community, with further restrictions and seasonal work to digital platforms where they as the cinema screenings of the most reviewing and promoting a show by a local lighting and set design, as well as travel as well as hope, that it offered. The fluctuations. can continue to produce live work, and exciting live shows at the National Theatre Oxford company. What excited me, and and subsistence. It is possible to be experience was particularly valuable The final strand of our research had that the practical advice in the digital and other important venues around the much more agile than in a building- for audience members and performers to do with the working conditions of toolkit and the encouraging outcomes country by NT Live and the Shakespeare based and physical performance model who, in normal times, would have performers when home-working. We of our audience research will give them broadcasts by the Globe, RSC, and in programming, casting, rehearsing had issues with access: while working found that performing on and for Zoom the confidence and practical know- Stratford Ontario festival, brought top- and performing new shows – and to be digitally could throw up issues around brings with it a unique set of challenges how to embark on their own digital quality Shakespeare productions to much more friendly to the climate and digital inequality (because of issues with that require an adapted framework for transformation. national and international audiences environment, too, with really substantial hardware and broadband access, or lack employment: Zoom fatigue impacts on who could never have seen those shows carbon savings on travel for both the cast of privacy), it could also now suddenly the hours per day that performers can For more information visit: in person, but the shows themselves had and for audiences. Working digitally, open up access regardless of disability, be expected to rehearse, and there are www.ukri.org/research/coronavirus/ been undergoing a digital transformation. we found, is so cost-effective that it personal circumstance or geographical implications for their living spaces and recovery-and-rebuilding/digital- One thing I was particularly interested in encourages risk-taking, creativity, and location. Perhaps the greatest surprise partners too, as part of their home is transformation-toolkit-for-theatres/

14 equity AUTUMN 2020 www.equity.org.uk www.equity.org.uk AUTUMN 2020 equity 15 CONTRACTS

quity has reached a new temporary variation with SOLT and UK Theatre to protect the terms and EQUITY FIGHTS FOR conditions affecting directors, Edesigners and choreographers as the LOCAL CASTING industry seeks to recover from the Covid PAY AND CONDITIONS crisis. Under the standard terms of the card deadline, final delivery deadline, The union would like to express its agreement, if a production is abandoned approval of design and press night. thanks to SDUK, the ALD and SBTD who after the point of contract Equity members If the production is cancelled at any point supported the process of negotiation with SHOULD BE AN should receive payment of their subsequent 100% of the next instalment becomes advice and guidance to ensure the deal 1/3rd of their fee. The producers sought payable. was the best that it could be. to abandon these payments, arguing the Production designer, Madeleine Girling Fiona Watt said: “This has been a long increased risk of cancellations for reasons who sits on the committee said: “The and detailed process to share the logic, ESSENTIAL PART related to Covid meant that these automatic idea that freelancers should have to risk expertise and knowledge of our members payments would only act as a disincentive to undertaking work that would never be to secure payment stages that recognise produce work until the crisis was over. paid for was simply not acceptable. The the front loaded work and risk for set and deal we’ve reached for set and costume costume designers in their working lives. OF THE CASTING Detailed negotiations designers not only protects against this, We will continue with all of our colleagues Members of Equity’s elected Directors but also starts to breakdown a designer’s in SDUK and with the ALD to support one and Designers’ Committee rejected the working process, bringing further another and Equity in achieving best proposal as it exposed creative team attention to the current inadequacies, and practice, terms and conditions for all members to the risk of undertaking helps with our ongoing efforts to ensure members of the creative team going PROCESS BECAUSE: significant amounts of work, which fees reflect the true value of design.” forward.” would go unpaid in the event of a TALENT IS IT REDUCES cancellation. After a series of detailed negotiations with SOLT and UK Theatre, AVAILABLE COSTS FOR the committee was able to reach a 1 2 position which gave some of the flexibility THROUGHOUT EVERYONE being sought, but crucially delivered on EVERY REGION the union’s commitment to ensure that our members’ work on productions does AND NATION OF not go unpaid. THE UK Directors, lighting designers and choreographers will receive 25% of their fee on signature, a further 12.5 % upon instruction to commence work, with further instalments of 27.5% and 35% respectively for commencement of rehearsals/design delivery and press INVESTING IN IT ENABLES night. If the production is cancelled at any LOCAL JOBS ACCESS TO point 60% of the next instalment becomes 3 4 payable. AND SKILLS AUTHENTIC Theatre director Robyn Winfield BRINGS BENEFITS VOICES AND Smith and Charlotte Peters from the committee said: “These were tough TO THE LOCAL UNIQUE LOCAL negotiations in difficult circumstances ECONOMY STORIES for everyone. Critically, this recognises that 50% of the work is undertaken before AND THE WHOLE the commencement of rehearsals, which the committee has long fought to have COMMUNITY acknowledged.” Set and costume designers will receive 25% upon signature, 10% once given the go ahead and further payments of 15%,

15%, 10% and 25% respectively for white SHUTTERSTOCK www.equity.org.uk/cast-it-here www.equity.org.uk AUTUMN 2020 equity 17 MOVEMENT DIRECTORS

yse Tashkiran and Diane Alison- Mitchell are two movement directors who have been in dialogue about their movement Awork and the growth of their careers. MOVING A recurrent topic was the discrepancy between the creative and impactful place of movement in rehearsal rooms and on productions on the one hand, FORWARDS and the absence of traces or recognition of that work in the wider profession on the other. A vital but often unsung part of the production When listening to other movement process, movement directors have been sidelined directors, they noticed many common themes that required unified action. A lack for a long time. Now, with the launch of the new of collective representation for movement Movement Directors’ Association, and a push for directors meant many have been working formal recognition within Equity, they are finally without a voice, and without the advocacy stepping into the spotlight. We talk to Ayse Tashkiran or resources of organisations such as Equity or a professional guild. and Diane Alison-Mitchell about their craft In spring 2019 Ayse and Diane began preparations for a professional body specifically for movement directors. First, they consulted a range of movement directors. Then they shared their plans with Equity, SOLT, PiPA, ERA 50:50, Casting Directors’ Guild, and spoke to associations for other theatre creatives such as lighting, sound, and design. prospects for movement directors in the Movement directors Q+A isn’t an obvious movement sequence or build an ensemble as a temporary, vividly a significant contribution to realisation During an open meeting co-hosted with reconstruction of the industry. One of language. embodied community. They have skill of the movement within rehearsals, tech Equity in August 2020 the Movement the MDA’s priorities is to drive formal When did movement directors first and insight into how bodies communicate and previews, and to the maintenance of Directors’ Association (MDA) was recognition by the union. This will endow appear on productions in the UK? What do movement directors do? – not only how performers’ bodies movement work during runs or transfers. launched. Equity with the means to negotiate with Movement directors have been around Movement directors work with the communicate amongst the ensemble, During the meeting, a wide range of management associations such as the ITC, for a while; one of the first ‘directors physical, living bodies at the heart of but also how the bodies of those on stage Did you know? movement directors voiced concerns SOLT/UK Theatre on behalf of movement of movement’ was named in a 1950s production. They create a movement communicate with those in the audience. An analysis of the input of movement on about pay, working conditions, credits, directors. Joint initiatives are already production. Through the 1960s movement language or physical style or manifest They understand how the actors’ NT productions from 1963 to February transfers and dissemination of work, lack in development between the MDA and directors made sizeable contributions to through performing bodies – the more individual and collective movement has 2020 (436 shows with movement of belonging, lack of wider understanding Equity to build a comprehensive picture of mainstream productions at the National enigmatic or elusive part of a text or script. the potential to affect the audience’s input were considered) indicates that of the practice, insurance, health and the field of movement direction in the UK. Theatre (NT) and the Royal Shakespeare They contribute creative movement ideas bodies – they think a lot about the use of ‘Movement Director’ is the most common safety, caring duties and schedules, A month later, the MDA is already Company. Movement directors’ work has and invent physical processes, helping space compositionally and dynamically. role title in use at the NT, followed by ethics and protocols around contracts growing an exciting membership from quietly and slowly grown to permeate to take a production from concept to ‘Choreographer’, followed by ‘Movement’. and rehearsal rooms, inclusivity, career across opera, theatre, film and television. many performance genres such as opera, realisation. They collaborate meaningfully What is the difference between Few composite titles were used, for progression, and well-being. It is supported by a steering group film and television. However, it is the with other members of the wider creative movement direction and choreography? example ‘Choreographer and Movement The conversation revealed a history made up of emerging and established growth of creative teams in the last two team, often working closely with the The main difference is dance and dancing. Director’ (six instances). ‘Director of of under-representation that has movement directors. This is an decades that has led to a flourishing of director and designer. Movement directors Movement directors tend to work broadly Movement’ credit was only used 33 times impacted working standards and organisation led by movement directors movement in productions. Film actors may also work closely with a composer in to enable movement across all aspects and ‘choreography’ 26. In the early years conditions. Within the context of the for movement directors that celebrates have been vocal about the support of relation to a complex movement section, of a production. It might include some of the NT, variations of ‘Dance by’ or global pandemic, where all theatre movement, instigates change, and builds movement for the realisation of the a dance or transitions between scenes. dance but that is normally subsumed ‘Dances arranged by’ (including Dance set workers are facing great instability, community. physicality of their roles. Companies like Their movement expertise supports and into the broader picture of the process. by/Advisor/Consultant/Coach) were the the MDA arrived at a critical moment, The support for the organisation, Talawa and Cheek by Jowl embedded the empowers actors and performers for For movement directors the creative and norm and account for 50 credits. highlighting the importance of naming and its small team, has been significant practice into their company structures. sustainable and enriching movement dramaturgical collaboration with other and acknowledging the place of with alliances forming and resources When you look at programmes now, work for the duration of a project. Through creatives such as the director or director Find out about the MDA at www. movement directors in the profession. for members growing. The MDA looks frequently you will see that the movement movement, they enable performers to of photography is key. The creation movementdirectorsassociation.com With Equity’s support the MDA will forwards to its ongoing dialogue with director sits solidly within the creative embody the fictional world of the work; of material with the actors is deeply or contact them directly at admin@ work towards more fulsome, liveable Equity. team. Take a look next time – even if there and through movement, they help to collaborative. Movement directors make movementdirectorsassociation.com

18 equity AUTUMN 2020 www.equity.org.uk www.equity.org.uk AUTUMN 2020 equity 19 FREELANCERS

We have compiled a still growing database of over 400 workers in the dance- movement sector, and sent out weekly FREELANCE newsletters containing industry updates, notes from industry meetings, funding news, surveys, plus additional advice/ guidance that we have come across or received. We met with One Dance UK, THINKERS People Dancing, Arts Council England (ACE), as well as with Equity, Society of A new task force of – and those who sought a systemic even justice, learned that we must act with London & UK Theatre, Association of re‑imagining. I found my home in a group radical kindness and care. We learned Independent Professionals & the Self- freelancers is looking called Radical Task Force, who insisted that safe spaces are not enough – we need Employed, and the Independent Theatre to shake up working that the Covid crisis was an opportunity to brave spaces. Council via our presence in the wider FTF. practices in theatre ‘Burn it Down’ and start again in a more There will be no single recommendation We initiated #MovewithMomentum equitable and fair way. or manifesto. Already, an astonishing #Still/Moving, a visual protest on Twitter I also started a Twitter campaign amount of output has been produced – to actively populate and flood social ew people have been as badly called Older Women in Theatre, using and will continue to be produced. media with movement. affected in the working world the hashtag #OWIT – which swiftly And though no single recommendation A number of drives have emerged than freelancers: ineligible for the gathered many wonderful older women’s has emerged, I detect a recurring theme including the Five Guiding Principles government’s furlough scheme, organisations in a rallying cry for greater throughout the work: more artists making Document, a fair trade model draft for Fexcluded by the chancellor’s rescue representation and more agency. more decisions about more resources. I freelancers pioneered by the South West initiatives and facing endless uncertainty Being involved gave me a keen sense think that’s a principle our trade unions FTF, Miranda Henderson and Alister around work, in an economy that remains of the layers of disadvantage and poverty can get behind.” O’Loughlin; IDEALLL,a working practices

shaky. But for just over three months within our industry. There is much work to Leo tweets at @leomarcuswan MACIS LUCIANO draft document addressing anti-racism this summer, 169 freelance workers do to ensure that theatre returns richer in and advocating inclusive practice; the Pay were sponsored by 150 different theatre diversity and equality for all freelancers.” Dan Ayling, Equity Councillor want to create this database of theatre more diverse people on and offstage. The Structures Document, which evaluated companies from across England, Scotland Jackie tweets at @JackieClune “The task force held meetings with SOLT/ workers who experience racism and/ feedback has been great so far and some current pay rates with the aim to consult and Wales to form the Freelance Task Force, UK Theatre, Equity, Arts Council England, or are D/deaf or disabled. I felt a sort of of those who have been added to the with trade unions and organisations; bringing together practical ideas to help Leo Wan Bectu, IPSE, CIF, FMTW, London Theatres responsibility to help those who felt they database have said that it’s a great idea, the Anti-Racism and Inclusion Index, freelancers, and proposals to remake the “It became immediately clear that we Consortium, Arts Council Wales, and weren’t being given a fair chance or felt that this should have been done long ago which identifies cross-country initiatives, industry. would face obstacles beyond our control Creative Scotland to name just a few. they weren’t getting work because of and that they feel like it could make a huge resources, and best-practice examples Over these three months, the group – how could we decide how to make Meetings also took place regionally their race. I wanted to prove to venues, difference in the industry.” within the arts. of freelancers – from a wide range of decisions as such a large group, hampered or by nation (Scotland, Wales, London, and organisations that there are SO many Shannon tweets at @ShannonAisha_x The Black Lives Matter in Dance professional and personal backgrounds by the fact we were on Zoom?! It became North of England, South East, South talented people out there in the industry subgroup, has held discussions with ACE – have worked on a variety of different clear that any attempt to impose a West) with topics including access; anti- from myriad backgrounds that there is Jennifer Jackson and are connecting with other groups reports, research documents and hierarchical structure upon the task force racist actions; remaking the industry no excuse for a lack of diversity, and that “As an artist who works as an actor, focussing on this; finally, I am working proposals for the future of theatre when would simply replicate the system which for freelancers; universal basic income those who feel excluded should have as movement director and theatre maker, I with a more focused group (including we emerge from the current crisis. We had seen freelancers excluded thus far. or artists’ basic income; support for many opportunities as everyone else. thought I had a good grasp of our industry, Jessica Wright and Rafia Hussain) to spoke to some of the Equity members who And that would not do. freelancers who have fallen through the If people in the industry really want to but 13 weeks of discussion, listening, form a National Portfolio Creative Group were participating in the task force to find Moreover, across the task force there gaps; safe working practices during the increase the diversity of theatre, there planning, and working alongside so many to discuss and generate proposals and out more. was a greater range of lived experience pandemic and once theatres can re- should be no excuses: they now have freelancers was an education. I wanted to models for more direct and longer-term than I have seen brought together before open; how the government’s £1.57billion a document proving the diversity of put the work of movement directors on investment in artists from Arts Council Jackie Clune, Equity vice-president – people who are disabled by society, support for the industry should be people waiting to work, and can extend the agenda, and I consulted with artists England. “The Freelancers Task Force was a massive people who experience racism, people administered to ensure freelancers benefit opportunities and casting invitations through MoveSpace and with the newly This 13-week period is the beginning coalition of freelancers from across the who face misogyny, and people who face from it, and how we change industry to them. I also hope that theatres will founded Movement Directors Association. of a conversation, of a movement, and industry which sought to make the voices all of these discriminations. The structures practice after this period of closure for the become more accessible which will give I joined the Dance FTF sub-group, going forwards, we want to continue to of freelancers heard at the top tables in that we are used to have never valued better.” those who have been marginalised some which was established to address the build on the work we started. Get in touch conversations about how we are to survive these people or allowed them to thrive. Dan tweets at @DanAyling1 hope of being able to pursue/extend needs, demands, and conversations with us on Twitter at @DanceFTF or on as workers in the sector. It quickly became And that would not do. their career in theatre. I have had quite a concerning the dance and movement Facebook.” clear that a multiplicity of responses and Instead, a somewhat anarchic Shannon Martin lot of interest from producers regarding art sector. We are comprised producers, Jenni tweets at @JenoirRenoir voices would emerge – ranging from those horizontal structure emerged, people “Being part of the task force and hearing the database and some have asked to consultants, choreographers, dance keen to enter into dialogue within existing gradually found their tribes and a plurality people endlessly expressing the same be put on the distribution list once it is artists, movement directors, movement You can find out more about Task Force structures – such as Arts Council England, of approaches was undertaken. Those sentiment – ‘we need to make theatre complete. A few have said they’re looking practitioners, teachers, and artistic participants and the work created so far large theatre organisations and buildings of us who desire true equity, or perhaps diverse but how do we do it?’ – made me to start putting together productions with directors based across the UK. at www.freelancetaskforce.co.uk

20 equity AUTUMN 2020 www.equity.org.uk www.equity.org.uk AUTUMN 2020 equity 21 NEWS

THE FIGHT AGAINST RACISM AND EXCLUSION IN THE ENTERTAINMENT INDUSTRY: PAST AND PRESENT 2020 has been a year of unprecedented challenges for the industry and for the union in its fight to represent and advance the interests of members. This year’s Black History Month event (Equity Zooms in on Race) enables us to explore the CLARENCE DERWENT AWARDS impact of the union’s work to advance and represent the interests of Black and In February the ceremony for the 2019 Hammed’s award was collected on Equity also took the opportunity Clarence Derwent awards were held in his behalf by fellow actor Jermaine to give out our Student Member and Minority Ethnic (BME) members historically and looking towards the future. London, with the awards going to Lucy Freeman. Young Member bursaries, introduced in Briers for her portrayal of Mrs Helseth The judges were producer Thelma 2006. Our 2019 recipients of the Student in Rosmersholm at the Duke of York’s Holt, critics Susannah Clapp and Matt Member bursaries were Joseph Scatley, 22 October, 15.00 Get the Zoom link at equity.org.uk/zoom Theatre, and to Hammed Animashaun for Trueman, director Jonathan Munby, studying at Rose Bruford, and Sharune two performances: Willie in Master Harold journalist and dramaturg Kate Bassett who is studying at the Reel Scene. The and the Boys at the National Theatre and and Equity vice-president Ian Barritt. Young Member bursaries were won by Bottom in A Midsummer Night’s Dream at The awards were presented by Equity singer Jefferson Parlett and comedian the Bridge. president, Maureen Beattie. Abigail Carter-Simpson. Trade Unions Fighting Racism and the Far-Right Equity Zooms In On… revelations coming out of the dozens really validating for me as a member of Zooms the Equalities Committees and activist.” Since lockdown began, Equity’s have organised together with the help These events have been an Download a copy of the recent publication from Equalities Committees have been of the staff during the pandemic for me essential way of reaching out to running a series of events covering has been meeting members who, either members during the most difficult time the Trade Union Co-ordinating Group (TUCG) all areas of the union; from models to for geographical reasons or because the industry has faced. They’ve enabled website which brings together detailed accounts burlesque performers, from contracts to their particular area of the industry members to connect, learn and have health and safety, activism, government they’re active in is not one of those their voices heard in unprecedented of a wide range of trade union activity focused policy, students and much more. Over more prevalent within Equity, have so times. on fighting racism and fascism. The document 40 events have taken place over the past far not engaged with the union much; They have been a huge success, and six months, with around 80 members seeing them realise that the union can have proved that we are able to create contains details of Equity’s campaign against present at each event. be a source of support to them as well accessible, engaging events without racist reviews. Giovanni Bienne, Chair of the LGBT+ and leave with a renewed belief in the having to leave our homes! Committee said: “One of the joys and union and their place in it has been Amy Dawson

22 equity AUTUMN 2020 www.equity.org.uk www.equity.org.uk AUTUMN 2020 equity 23 CHRISTINE RETIRES

After more than 40 years of service to the union, General Secretary Christine GOODBYE Payne has stepped down

quity’s outgoing General Secretary Christine Payne was awarded Honorary Life Membership at CHRISTINE her last Council meeting before Eretirement on 1 September. The presentation was made to Christine at the end of the meeting at Guild House by Equity President Maureen Beattie and in the presence of a group of Equity councillors, officers and staff who have worked with Christine across her years of service. Despite the need to adhere to strict social distancing requirements, it was a moving and emotional tribute to Christine, who has spent over 40 years of her working life at Equity. Christine’s achievements during this time include putting equalities at the centre of the union’s agenda and her encouragement of young members’ participation, leading to the creation of the Young Members Committee. As a result, a large proportion of our members are now under 30. The creation of Equity’s industrial committees and her contribution to the work of the International Federation of Artists were also noted, in particular the solidarity work that Christine led with our sister union in Ghana. She achieved a place for Equity by right on the General Council of the TUC and in recent years joined the Executive. This is hugely significant in terms of bringing an understanding of the arts and entertainment industries and the working lives of creative workers to the largest representative body of unions in the UK. In her speech introducing the award, Maureen Beattie said: “Christine is a very impressive person. This is doubly true when you think that she has been undergoing treatment for cancer for most of the last two years. She is modest and unassuming about her extraordinary body of work and her matchless contribution to where we are today - a strong and resilient trade union ready to face whatever challenges are ahead.”

24 equity AUTUMN 2020 www.equity.org.uk www.equity.org.uk AUTUMN 2020 equity 25 IN APPRECIATION

Joan Blackham (Council 1994-2000) Much has been written and said in Equity members were stunned by Joan recent weeks of Joan’s talent, her support Blackham’s death on 6 September. Joan’s of young people through her teaching and fight with cancer was largely unknown her championing of new writing. and her usual bright, enquiring and She served for six years as a General List committed demeanour gave little away. Councillor, on the Appeals Committee There has been a vast outpouring of and for a number of years on the Women’s love and appreciation for her: she was Committee, and it is to her work for and a hugely experienced character actress with her Equity sisters I would most like to working in television, film and theatre pay tribute. (including the RSC) and her comic It was invaluable. Former branch talent, being recognised early on in chair Malcolm Ward told me, “To this her career, led to her appearance in a day I have no idea how she managed number of television sitcoms – To the to charm and cajole so many busy, Manor Born, Home to Roost and Cry Wolf. articulate, compelling speakers into giving Kenneth Williams chose her to play Fay up their evenings for nothing but a glass in his production of Loot at the Lyric of wine!” Hammersmith. Just the most supportive, warm, kind Miriam Margolyes, who did two and funny person, Joan the actress, series with her of Take a Letter Mr Jones, teacher, tennis lover, activist and friend, devastated by the news, describes her as will be sorely missed. “an adorable, gifted, loyal, witty darling.” Jean Rogers

Frances Cuka (Council 1974-1975, 1977-1978, 1994-2006) determination to fight for any cause she each other for some 50 years, this was Frances Cuka, who died February 2020 believed in on behalf of our members. the first time, we’d worked together. age 83 following a stroke, had a career She was a highly respected councillor. A credit to our profession both as an spanning 60 years. She trained at the Frances’s fInal role was Granny in actor and for her work in the union, she Guildhall School of Music and Drama Channel 4’s Friday Night Dinner in which will be remembered with pride by those after which she joined Joan Littlewood’s I play Mr Morris, her boyfriend. We who knew her. Theatre Workshop. Frances shot to laughed over the fact that having known Harry Landis stardom playing Jo in Shelagh Delaney’s A Taste of Honey. The show went from Stratford East to the West End and then to Broadway. Then followed Beckett’s End Game and John Arden’s Live Like Roy Hudd OBE Pigs at the Royal Court Theatre. In (Trustee) throughout his public life is so well this pandemic. Despite his illness, I have 1962 Frances starred as Becky Sharp in Roy, who has died aged 83, would often documented it is unnecessary to repeat no doubt that, simply down to his caring the musical Vanity Fair at the Queen’s recall, fondly, the debt he owed to his them here. But he had a private side which and generous nature, he would have Theatre, London. gran, who brought him up and introduced is not so well known. become a key figure in leading a drive Turning to TV, from 2006 to 2009 him to the delights of variety via regular I first met Roy in 1975, at virtually the to raise much needed donations for our Frances played Mrs Bassey, a homeless visits to the Croydon Empire where he saw midpoint in his long life and soon learned besieged Benevolent Fund. woman in the BBC’s Casualty. A run many of his comedy heroes. From thereon how acutely he cared for the welfare of From that initial meeting in 1975 I in Crossroads was followed by several he was hooked. He went on to achieve his fellow artistes. He was a champion of worked closely with Roy during most of episodes of Coronation Street plus many so much himself – comedian, actor, the underdog. For many years he was an the remaining forty years of his life and others. Among her films were Scrooge in author, journalist, playwright and record- Equity trustee and a leading figure in the it was an immense privilege, not only to 1970 as Bob Cratchit’s wife and Catherine breaking, award-winning radio star. charity work of the Grand Order of Water share the copious laughter, but to get to of Aragon in Henry VIII and His Six Wives With his encyclopaedic knowledge Rats. No doubt due to his own humble know and love this deeply compassionate in 1972. and phenomenal memory he became a beginnings, wherever he encountered man. In an ironically theatrical fashion, it Elected to Council, during my time as recognised authority on the history of hardship he wanted to help. was on the Ides of March this year that we president, I can vouch for her dogged music hall, variety and pantomime. I know he would have been heartbroken all lost an invaluable and true friend. His impressive list of achievements by the havoc wreaked on our industry by Chris Emmett

26 equity AUTUMN 2020 www.equity.org.uk www.equity.org.uk AUTUMN 2020 equity 27 IN APPRECIATION

Tommy Wallis Brenda Marsh (VAF and Variety Committee) both unions, but an incorporation keeping (Council, 1994-2000) internal newspaper. In 1996 Brenda Tommy Wallis was a renowned variety the name ‘Equity incorporating Variety Brenda Marsh was a glamorous became an Equity variety councillor, her artiste and multi-instrumentalist. He Artistes Federation’ intact. He served entertainer who started her career many experiences making her an asset worked in variety theatres, summer on the variety committee from then on, as a big band singer. As her success to the profession. Brenda finished as seasons, pantomimes and various variety and helped create the variety committee progressed Brenda became a much Equity councillor in 2012 and carried on shows throughout the country. He later rules, including a clause stating that any admired artiste and enjoyed work in as branch secretary until 2014. Brenda met and married his lovely wife Beryl change to these rules must be agreed many nightclubs, later working on died in April 2020. and they became a double act known as by the variety committee before getting cruise ships and Combined Services Those of us who knew her will ‘Tommy Wallis and Beryl’. council endorsement. His knowledge and Entertainments, all of which took her miss her great personality, sense of In 1974, when Tommy’s father died, gentlemanly approach were appreciated, around the world. Her stories about the humour and her friendship. The variety they decided to adopt the family name valued and a great asset to variety. comparison of working in the relative profession will miss her loyalty and and became ‘The Plummers’. The act Tommy was also a member of the Louis Mahoney luxury of the West End nightclubs and dedication. Always remembered, Felix was popular with audiences, fellow Water Rats. I am sure they will miss him (Council 1977-1979, 1980-1986, 1988-1990, the deprivation of entertaining in war Danner Brenda Marsh. performers, and variety employers alike. as much as we do. Tommy Wallis died 1992-2002 and vice-president 1994-1996) situations were amazing. Yvonne Joseph Tommy and Beryl played number one on 10 June 2020 aged 92, a wonderful Trailblazing actor Louis Felix Danner Brenda’s wide experiences made theatres and highly prestigious venues theatrical life over. We send our love to Mahoney died at the grand age of 81 in her so knowledgeable that when the with great success. Beryl. Tommy will be remembered as a June. Born in the Gambia, he came to the Equity variety branch in the North East When the VAF was incorporated with consummate professional entertainer, a United Kingdom in the 1960s to study of England wanted a new Hon. Secretary Equity in 1967 Tommy was one of the great supporter of the profession and a medicine, but he exchanged his doctors in 1987 Brenda Marsh was the obvious variety members who ensured it was not perfect gentleman. apparel after developing a passion for the choice. The branch benefited from her an amalgamation, changing the name of Yvonne Joseph arts, training at London Central School of knowledge and her unstinting desire to Speech and Drama. help, support and protect her members’ Always aware of the less fortunate work. In 1995, when the BBC was filming Hamish Wilson having fewer opportunities in the field, Our Friends In The North Brenda agreed (Council 1974-1975) working professionally while still at (1961), Vital Spark (1966), Softly Softly he created workshops for aspiring young to find all background artistes for the Hamish Wilson was a radio producer and school. He trained at the Royal Scottish (1967) and Doctor Who (1968). The 1970s Black youth and fledgeling actors. whole series to avoid non-professionals character actor who was both an Equity Academy of Music and Drama, graduating saw Hamish move into the world of radio Louis was one of the first Black actors being used. This was so successful the member and a member of staff in our in 1963 and winning the award for Most production, where he took on a series at the Royal Shakespeare Company, but BBC included a double page report with Glasgow office. Promising Male Performance. He then of roles across STV, Radio Forth, Radio his extensive TV and film career stretched thanks to Brenda and Equity in their Born in 1942, in Glasgow, Hamish appeared in a range of roles in both Clyde, and the BBC. By the time he left the from the 1960s up to 2020 before his was raised in Cambuslang where he theatre and television, with notable BBC in 1999, he had won 23 awards for his passing. Such classic TV work, reflecting discovered his love of drama and began appearances in included Greyfriars Bobby radio productions. the depths of his ability included Doctor Robert Mill As well as being a lifelong member of Who, Fawlty Towers, Casualty, The Lenny (Council 1994-2000) John died in 2010. Bobby was a staunch Equity, Hamish worked for Equity in the Henry Show, Counterpart and The Split. Robert Mill, known to everyone as Bobby, supporter of Equity and represented 1960s. He started in the union’s Glasgow In cinema, he appeared in films including was born in Marylebone in 1933. He was the South-East Area on Council 1994- office, then located in Bath Street. He Cry Freedom, White Mischief, Random, educated at Winchester College and 2000. He served on the TV Commercials was soon invited to work in Harley Street, and All in the Game. Magdalen College, Oxford – though he Working Party at a time of great conflict which he did before the lure of the stage Louis had the biggest heart, and always left without taking a degree. He did part with the producers. Everyone loved Bobby and the studio dragged him back. made you feel good about yourself of his national service as a junior officer and Bobby loved people. His huge social Hamish was much-loved by all of those when you were in his presence. He was in Korea where his platoon included conscience led to his being a founder who worked with him, and he will be an incomparable anti-racist activist Maurice Micklewhite (Michael Caine). member of ICAF (the International greatly missed. Equity President Maureen throughout his career, and proudly After a short spell as a policeman, he got a Committee for Artists’ Freedom) and later Beattie said “I worked with Hamish many represented African and Asian actors on scholarship to RADA. of IPAT (now Safety Curtain). times when he was a drama producer Equity’s Executive Council through the His screen work included In particular, he gave great with BBC Radio Scotland. He was a joy years. He was joint vice-president for Enemy of the State, The support to the Chilean to work with – kind and encouraging and Equity from 1994 to 1996. Avengers, Dad’s Army, The performers who fled from always with a ready ear for every member His stellar body of work will be a vast Dick Emery Show, Tales of the regime of Pinochet. His of the team. I was very sorry to hear of his pool of wealth for those who will be the Unexpected and A Man humanity and compassion led passing.” following in his footsteps and learning For All Seasons but his main to his becoming a prison visitor Hamish died on 26 March, having from the gentle master that he was. His love was theatre. He met and a humanist celebrant. contracted coronavirus. He is survived light will shine forever: a fitting tribute his lifelong partner John at He died in Denville Hall on by his three daughters and four during reflection on Black History Month. Northampton Rep in 1961; 30 August. grandchildren.

Dawn Hope they were together until Ian Barritt RUTHERGLEN REFORMER Lorne Boswell

28 equity AUTUMN 2020 www.equity.org.uk www.equity.org.uk AUTUMN 2020 equity 29 IN MEMORIAM

With regret it is recorded that since the publication of the last edition of Equity magazine we have learned of the deaths of the following members:

A Crackers Brian Quinlan Doreen Morton Hans Meyer John Rolfe Malcolm Terris Patrick Fairley Sally Jacobs Adam Darius Brian Sonny Nickels Dorothy Robson Harley Du Maurier John Savill Marcus Mariner Paul Maure Sam Scurfield Adolphe Menjou Brij Mohan Dorothy Sylvia Gallon Harold King John Saxon Margalo Gillmore Paul Raymond Iles Sarah Shipton Aimé Major Bromwyn Josene Jennison Douglas Gray Harry Dickman John Shrapnel Margaret Cotter Paul Shearstone Sean Arnold Akim Tamiroff Bruce Myers E J Thomson-Macgregor Harry Kupfer John Tydeman Margareta Hallin Paul Wynndebagge-Saunders Segun Akingbola Alan Harris C P Lee Earl Cameron Harry Stockwell Johnny Ascot Margery Powell Paula Kelly Sergio Fantoni Alan Turner Canada Lee Ebe Stignani Heather Jean Chasen Johnny Beattie Maria Fromet Paula Tilbrook Sharron Byrne Alastair Bannerman Carl Barry Edd Byrnes Helen Latham Johnny Shack Marie Ashton Pearl Carr Shirley Douglas Albert Dinan Caroline Mortimer Eddie Large Helen Reddy Jonathan Drew Marie Fredriksson Peggy Batchelor Silvano Carroli Alberto Lorca Carolyn Foulkes Eddy May Helena Braun Jonathan Scott Marilyn Imrie Penny Morrell Simone Lloyd-Davies Alex Clark Catherine Kessler Edward Holmes Hertha Töpper Joseph Buloff Marion Shakespeare Peter Badger Sonja Ziemann Alfred Lunt Chaim Towber Effie Afton Honor Blackman Joy Graham Marjorie Tallchief Peter Stanton Soon-Teck Oh Alfred Oldridge Charlie Noble Effie Atherton Howard Bennett Joyce B Wright Marjorie Thomson Phil Hearne Stella Farrance Alfred Poell Cherie Baillie Elfriede Trötschel Hugh Leadon Julia Breck Mark Lloyd Philip Fitzpatrick Stella Goddard Alison Fiske Cherrie Butlin Elise Valee Ian Ainsley Julian Boote Mark Rocco Philip Latham Steve Parry-Hearn Allan Andrews Chris Needs Elizabeth Flanagan Ian Halliburton Julian Curry Mart Crowley Philip Waddilove Stuart Whitman Aloysius Valente Christine Burn Eric Waite Ian Holm Julie Felix Martin Cosgrif Pip Hinton Sue Cowling Andre Eglevsky Christopher Stanton Étienne Decroux Ian Royce Juliette Greco Mary Miller Randy Barlow Sue Walker André Ptaszynski Claude Nollier Eva Bergh Ian Whitcomb June Broughton Max Von Sydow Raphaël Coleman Tami Lynn Andree Melly Claudette Colbert Evelyn Friedlander Ida Schuster Ken Joy Merrill Colebrook Raymond Lee Lomas Tasneem Gates Andrew Jack Claudine Auger Farzaneh Taidi Igor Youskevitch Kenneth Kennedy Michael Angelis Reginald Stewart Tatiana Lieven Ann Lynn Clive Graefe Fernand Fabre Imogen Moynihan Kenneth McReddie Michael Dickinson René Auberjonois Terence Frisby Ann Wrigg Clive J Stubbs Frances Cuka India Adams Kenneth Seeger Michael Elliott Richard Baldwyn Terry Hands Anna Cheselka Clive Rust Frances Davie Ivor Danvers Kenny Rogers Michael Gabe Richard Codman Terry Haworth Anna Karina Colin Star Francisco Reynders Jack Doughty Kerstin Meyer Michael Hennessy Richard Earthy Thelma Falls-Hand Anna Korwin Crazy Cavan Grogan Frank Ellis Jack McBride Kirk Douglas Michael Lonsdale Richard Ford Tim Brooke-Taylor Anne Bishop Cynthia Etherington Fred Whitham Jackie Howe Kristin Linklater Michael McEvoy Ricky Valance Timothy Earle Annie Ducaux Dan Cunningham Frederic Stebler James Garbutt Lane Meddick Michael Medwin Robert Manuel Timothy Oldroyd Annie Ross Dan Van Husen Gabriel Bacquier James Lambeth Laurie Morgan Michael Mould Robert Mill Tom Bradford Antonio Mairena David Atkinson Gabriel Gascon Jan Cieplinski Leighton Camden Michael Sadler Robert Sayer Tom Lee Archie Savage David Collings Gabriella Tucci Jay Benedict Len Kavanagh Mike Walling Robert West Tommy Wallis Arthur Dignam David Crane Gail Leslie Jean Babilée Leonore Kirschstein Mirella Freni Robin Estill Tony Addams Arthur Wells David Gardner Gary Allen Jean Gascon Leslie Randall Mony Dalmes Rodney Litchfield Tony Garnett B J Hogg David Hirsch Geneviève Guitry Jean Guélis Leslie Weekes Myrna Loy Roger Garceau Tony Scannell Barbara Bonhomme David K Grant Geoffrey Shaw Jean Knibbs Lewis Sewell Nancy Gower Roland Casenave Trevor W.P. Ray Barbara Crawford David Morton George Allen Humphreys Jean-Louis Roux Liesbeth List Neil Howlett Roland Roy Trini López Barbara Jefford David Mounfield George B. Skibine Jeanne Mattocks Lisa-Marie Gordon Nelly Guillerm Roma Tomelty Tristan Roland Cass Barbara Payton David Raher George Lannes Jelko Yuresha Lisan Kay Neville Buswell Ron Georgeson Véra Korène Barbara Stewart David Rowley George Mikell Jenny Counsell Little Richard Nicholas Parsons Ron Gregory Vera Lynn Barry Wilsher David Scrivens George Ogilvie Jenny Roberts Lon Satton Nick R Thomas Ron Haddrick Victor Kosby Beatrice Bretty Debby Brewser Gilda Perry Jerry Naylor Louis Mahoney Nicky Willis Ron Sawdon Vincent Marzello Belinda Robson Dee Shipman Gillian Martell Jerry Stiller Louis Seigner Niki Grant Ronald Eng Wally K. Daly Bernard Farrel Deon Stewardson Glen Farmer Jessica Spencer Louise Conte Nolan Frederick Ronald Harwood Wayne Fontana Berta Gersten Dera Cooper Glyn Welden Jill Gascoine Louise Thomson Norm Nielsen Ronnie Curran Wendy Shepherd Betty Wright Des Cunliffe Graham Ashe Joan Blackham Luba Kadison Norman Bacon Ronnie Storm William Dufris Bettye Bryant Diana Adams Graham Martin Joan Corfield Luke Westlake Olive McFarland Rosaleen M Morrison William Eedle Brenda Marsh Diana Bramwell Gratien Gélinas Joan Davies Mac Poole Olivia De Havilland Rosemary Donnelly William Q Cave Brendan Barry Diana Rigg Graydon Gould John Benfield Maggie Fitzgibbon Orson Bean Rosie Jeavons Winifred Williams Brian Dennehy Dixon James Scott Gustav Wally John Cannon Magic Wiz Paddy Croft Roy Hudd Wyn Thomas Brian E Cook Dolly Haas Hamish Wilson John Durnin Malcolm Dixon Paschal Allen Roy Lansford Yvonne Gaudeau Brian Innes Don Paul Hannah Lawrence John Falconer Malcolm Farquhar Pat Quayle Ruth Dawes Zoe Caldwell

30 equity AUTUMN 2020 www.equity.org.uk www.equity.org.uk AUTUMN 2020 equity 31 YOUR BRANCH PRESIDENTIAL OPINIONS

MIDLANDS North East Variety East Anglia Variety Birmingham Variety Contact: Steve McGuire, 0120 723 8258, Contact: east-anglia-variety-branch@equity. Contact: Alec Powell, 07831 115448, [email protected] org.uk Looking back, going on [email protected] N&W Yorkshire Variety Essex General Birmingham & West Midlands Contact: Valerie Jean Mann, 07778 450759, Contact: [email protected]. Maureen Beattie remembers her father, and looks to the union’s future General north-west-yorks-variety-branch@equity. uk Contact: birmingham-general-branch@ org.uk Home Counties West General equity.org.uk Sheffield General Contact: home-counties-west-general- I’VE BEEN THINKING A LOT about that we live in parlous times, I had no three things: All working people have the Coventry & Leicester Variety Contact: [email protected] [email protected] continuity in recent times. Some of you idea just how parlous they were about right to be artists. All artists have the right Contact: coventry-leicester-variety-branch@ South Yorkshire Variety Kent General will know that my father, Johnny Beattie, to become. The pandemic has shone a to a dignified life at work. The cause of equity.org.uk Contact: Anthony Blakesley, Contact: Marie Kelly, kentgeneralbranch01@ who was a variety artiste and actor and glaring spotlight on the fragility of the labour is the hope of the world.” East Midlands Variety [email protected] gmail.com, 07703 207878 career-long member of Equity, passed workers in our industry. It has brought The cause of labour is the hope of the Contact: Clive Bumstead, 07815 951798, east- Oxfordshire General away in July this year. The silver lining in into sharp focus all the inequalities world. [email protected] NORTHERN IRELAND Contact: oxfordshire-general-branch@ my family’s particular Covid cloud was which are endemic in every form of live That will do me fine and I expect it Northern Ireland General equity.org.uk that the virus meant I was able to be with performance and recorded media. would do my Dad fine, too. NORTH WEST Contact: northern-ireland-general-branch@ Dad and care for him throughout his final While we at Equity have accepted Blackpool Variety equity.org.uk SCOTLAND days. this wake up call and are passionately Contact: Denis Askham, denisaskham@ East of Scotland General One of the last things he did in his determined to right the wrongs of the yahoo.com WALES Contact: Torya Winters, east-scotland- life was to vote for me to continue as past, the powers that be – the holders of Gtr Manchester & Region Cardiff & S. Wales General [email protected] President of our union. Alas, he didn’t live the purse strings – are using the Covid Contact: manchester-general-branch@ Contact: cardiff-general-branch@equity. Glasgow General to see me voted in for a second term, but emergency to divide and therefore rule equity.org.uk org.uk Contact: glasgow-general-branch@equity. I know he would have been immensely us. The gap between rich and poor is Isle of Man General North Wales General org.uk proud, as my activism meant a great deal widening all the time. Why don’t we have Contact: isle-of-man-general-branch@ Contact: north-wales-general-branch@ Scotland Variety to him. a universal basic income? Because not equity.org.uk equity.org.uk Contact: Linda Rifkind, 0141 639 6969, There’s a story I have told many times having one keeps us on our toes, keeps us Liverpool & District General South Wales Variety [email protected] about the beginning of Dad’s career uncertain, hungry and fearful, just like my Contact: liverpool-general-branch@equity. Next meeting: 1st Tues of the month, in show business which I think bears father was back in 1953. org.uk 7.30pm, Tyn Y Twr Tavern, Port Talbot, SA12 LONDON repeating here. As a young husband and I have served on Council now for six Manchester & District Variety 8AU Contact: south-wales-variety-branch@ North & East London General father of a newborn baby (me!), who was years and in that time it has been my Contact: Yvonne Joseph, 0161 792 2035, equity.org.uk Contact: north-east-london-general- just starting out in show business having great privilege to serve alongside the [email protected] [email protected] begun his working life as an apprentice magnificent Christine Payne, who has Merseyside Variety SOUTH WEST North West London General electrician building ships on the Clyde, he worked tirelessly for Equity for 41 years Contact: Bob Romanoff, 07707 322166, Bristol & West General Contact: north-west-london-general- was offered a one night gig at the Gaiety and led us as General Secretary for the [email protected] Contact: bristol-west-general-branch@ [email protected] Theatre in Leith. He got his act together – past decade and a half. She is a very North Lancs & Cumbria equity.org.uk South & SE London General literally! – and his costumes and his props impressive person. She leaves us with General Devon & Cornwall General Contact: [email protected] and he took himself over to Edinburgh a union which is strong, resilient Contact: north-lancs-cumbria-general- Contact: devon-cornwall-general-branch@ Thames Variety from Glasgow, and when he got to the and, most importantly, open to new [email protected] equity.org.uk Contact: Nick Putz, 020 8808 3802, thames- theatre there was a notice pinned to the ways forward: not least in handing Dorset General [email protected] stage door “Insufficient bookings. Go the baton to her successor, Paul NORTH EAST Contact: dorset-general-branch@equity. West & SW London General home.” There was no compensation and Fleming. Humberside Variety org.uk Contact: west-south-west-london-general- no expenses because his contract had a We are at our best when the Contact: Christie Clifford, 01482 848031, West of England Variety [email protected] “No play, no pay” clause. inventiveness and creativity of [email protected] Contact: Mary Lane, 07900 848003, west- Having come from the passionate our members dovetails with the Leeds & Region General [email protected] ONLINE unionism of the shipyards, Dad practical business of protecting Contact: Pete Keal, 01422 885 211, leeds- Online Branch saw clearly that the way forward for and enhancing our terms and [email protected] SOUTH EAST Contact: Caron Lyon, moderator@ himself and his fellow workers in the conditions, the remit of our NE of England General Brighton & Sussex General equityonlinebranch.co.uk; www. entertainment industry was in the power wonderful staff. If we are to go Contact: north-east-england-general- Contact: brighton-general-branch@equity. equityonlinebranch.co.uk of the collective, and he went about forward into a bright new future [email protected] & ‘Equity NE Branch’ org.uk recruiting members for The Variety – which I believe passionately on FB & Twitter Artistes’ Federation and what was then we can – we will do so if we remain The British Actors’ Equity Association. constant to the principles that brought The stark reality is that without Equity Christine Payne to work for Equity all we’re heading for “No play, no pay” once those decades ago. Maureen Beattie EQUITY BRANCHES are your local meeting place to discuss the industry, share insights and influence the direction more. In his recent Radical Statement of Intent Equity President of the union. Find your local branch at www.equity.org.uk/branches When I wrote in an earlier column Paul Fleming said, “Our union believes in

32 equity AUTUMN 2020 www.equity.org.uk www.equity.org.uk AUTUMN 2020 equity 33 CONTACT EQUITY ​Equity’s International Committee for Artists Freedom brings together activists from across our union to campaign against persecution of Head Office: Subscription Enquiries 020 7670 0207 creative workers around the world. Right now we Listen Guild House are supporting artists caught up in the political HARASSMENT & BULLYING REPORTING LINE 020 7670 0268 Upper St Martin’s Lane to the London WC2H 9EG upheaval in Belarus, we are working with local TAX & WELFARE RIGHTS HELPLINE 020 7670 0223 NGOs in Nigeria to protest a death sentence EQUITY DISTRIBUTION TEAM [email protected] Tel: 020 7379 6000 magazine Email: [email protected] imposed on a singer accused of blasphemy and Web: www.equity.org.uk express our solidarity with Hungarian drama students occupying their university in Budapest. The Covid crisis is having a huge impact on EQUITY OFFICERS: Maureen Beattie: President Jackie Clune: Vice-President creative workers globally and we must stand If you or a fellow member have Lynda Rooke: Vice-President Bryn Evans: Honorary Treasurer ready to do all that we can to support each difficulty in reading printed material Trustees: Judi Dench, Malcolm Sinclair, Timothy West, Penelope Wilton, Johnny Worthy other. ICAF is inerested in hearing from Equity the Equity magazine is also available members who have an interest in supporting as an audio file or cassette tape. The Equity Staff South East office our campaigning work, especially members from magazine can be downloaded from the Telephone: To call a member of Equity’s head office dial 020 7379 6000 Stephen Duncan-Rice South East Organiser under-represented groups within our union. and at the prompt press the asterisk and dial the three figure extension in Equity, Upper St Martin’s Lane, WC2H 9EG website at www.equity.org.uk/magazine brackets after the relevant name below. TEL: 020 7670 0229 EMAIL: [email protected] To receive it, please contact Email: To email a member of Equity’s head office type the initial and Scotland and Northern Ireland office To find out more please contact: surname in lower case with no spaces followed by @equity.org.uk Lorne Boswell, Adam Adnyana Louise McMullan the Equity team via: Scotland and Northern Ireland Organisers Equity, Cambridge House, 8 E: [email protected] [email protected] General Secretary’s Dept Cambridge Street, Glasgow G2 3DZ T: 020 7670 0260 Paul Fleming General Secretary (155) TEL: 0141 248 2472 EMAIL: [email protected] Louise McMullan Deputy for the General Secretary (Communication, [email protected] Policy & Campaigns) (160) Duncan Smith Head of Finance (130) North West office Ian Manborde Equalities & Diversity Organiser (173) Paul Liversey North West Organiser Stephen Spence Senior Deputy for the General Secretary, (133) Rebs Corner, 2-4 Loom Street, Manchester, M4 6AN TEL: 0161 244 5995 EMAIL: [email protected] Live Performance Hilary Hadley Head of Live Performance Department (136) North East office Mike Day Variety Organiser (135) Dominic Bascombe North East Organiser Struggling with your Jamie Briers Industrial Organiser, Theatre (138) Rebs Corner, 2-4 Loom Street, Manchester, M4 6AN Amy Dawson Interim West End Organiser (139) TEL: 0161 244 5995 EMAIL: [email protected] Charlotte Bence Independent Theatre/Low Pay No Pay Organiser (137) Wales and South West office mental health? Simon Curtis Wales & South West Organiser Recorded Media Equity, Transport House, 1 Cathedral Road, Cardiff CF11 9HA John Barclay Assistant General Secretary (Live Performance) TEL: 029 2039 7971 EMAIL: [email protected] (146) [email protected] You’re not alone. Natalie Barker TV Organiser (152) Christine Blake Films Organiser (149) Midlands office Cathy Sweet BBC TV & Audio Organiser (153) Ian Bayes Midlands Organiser Tim Gale TV & Radio Commercials Organiser (145) Equity, Upper St Martin’s Lane, WC2H 9EG In these times of heightened TEL: 020 7670 0232 EMAIL: [email protected] Membership, Operations & Administration Matt Hood Deputy for the General Secretary (Membership, Equity Magazine Editorial stress and uncertainty, remember Operations & Administration) (166) Louise McMullan Louise Grainger Marketing, Events and Training (114) TEL: 020 7670 0260 EMAIL: [email protected] Alan Lean Tax and Welfare Rights Officer (157) you can call Equity’s free mental Emma Cotton Tax & Welfare Rights Organiser (151) Equity Magazine print & design Martin Kenny Legal Officer (125) Print: Jeremy Littlestone at Priority TEL: 07384 468044 health and well-being helpline EMAIL: [email protected] Design: Michael Booth on 0800 917 6470.

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

34 equity AUTUMN 2020 www.equity.org.uk www.equity.org.uk AUTUMN 2020 equity 35