Developments in the business of acting are not always front-of-mind for time-pressed creatives, yet can have a major impact on how their careers develop. That’s why we’ve created The Business, a series to help UK actors and performers stay updated on the key stories that will affect the nuts and bolts of their professional lives. This week, a new report highlights ‘class ceiling’ issues for actors, the new boss of LAMDA hopes to broaden access to drama school, and the National and Old Vic are to meet trans actors in a bid to better support the community, plus more business news.
New report reveals average Fringe pay
The results of a new report show that theatre-makers at the Edinburgh Fringe earned an average of just £392.15 for their work at the festival last year. Covering a period of as much as 40 days, research by theatre company and activists Power Play reveals that 38% of 325 artists surveyed were unpaid, with the average payment of £637.25 for those who did receive a fee for performances and rehearsal periods. It raises questions about what actors should be willing to handle should they partake in
Power Play told us: “The Edinburgh Fringe is an incredible platform for emerging theatre-makers to showcase their work; it’s the biggest, most vibrant arts event in the world and has been an important launchpad for some of the most exciting creative talent in the UK today. These figures, however, do point out serious issues around who can get to the festival and its role as a feeder for the UK industry.”
This echoes the concerns of a parliamentary inquiry into a new ‘class ceiling’ in the entertainment industry, with training costs, drama school costs and low wages restricting access to the industry for working-class performers. Power Play are to release a full report in the coming months.
READ: The Entertainment Industry ‘Class Ceiling’
Incoming LAMDA boss to pursue ‘radical solutions’ to London bias
The incoming head of LAMDA said she will pursue “radical solutions” to recruit the next generation of actors from across the country, including rethinking training outside of London. Sarah Frankcom, currently artistic director of Manchester’s Royal Exchange theatre, warned that the “talent pipeline” is in a fragile state, that drama schools are biased towards London-based students and are “monocultural.”
Speaking to the Guardian, Frankcom said that the world-class training available for student actors in London is not reflected across the country and that many would-be students are not able to “even contemplate relocating to the capital to train.” Frankcom suggested that although LAMDA holds auditions outside of the capital, the prospect of a vocational career as an actor remains hidden from view for a lot of people, adding that her new role would see her “look at how we can find innovative, creative and maybe quite radical solutions to recruit students.” Read more here.
National to host first casting event for trans and non-binary actors
A first-of-its-kind casting event aimed at supporting the trans acting community and creating links between actors and creatives is being held at the National Theatre. Organised with the support of Equity and the Old Vic, the casting departments from both theatres will attend, along with figures from across the industry.
The event is aimed at “professional actors who identify as transgender, trans*, genderqueer, non-binary, gender fluid and intersex” and will be an opportunity for actors to showcase talent as well as discuss how the theatre industry can better support performers. The event takes place on 15 April in London and is by application only. Read more here.
Park Theatre commits to Equity agreed contracts for all
North London’s Park Theatre has committed to Equity agreements for all performers and stage managers working at the venue. The theatre had previously used the union’s commercial agreement for in-house productions but is now ensuring external companies also pay at least Equity rates and adhere to the union’s contracts and conditions, with smaller companies now having to subscribe to the fringe agreement at the theatre.
READ: What Is Equity?
Park Theatre said that the building “prides itself on being supportive of dynamic, emerging producers” but that the move to ensure union-agreed contracts “absolutely right.” Equity described the commitment as “really promising,” adding that “this isn’t about penalising new producers, but helping to educate them as to how to engage our members in an ethical way – on the correct union agreement.” Jez Pike-directed play We’re Staying Right Here is currently playing at the Park. Check out ways to get involved with the Park Theatre here.
Female Film Force to fund five more shorts
The dating and networking app Bumble has announced a second round of Female Film Force, launched last year to get women-led short film projects off the ground. In 2018 the company gave out £100,000 in funding alongside mentoring to five filmmaking teams from the UK and Ireland. Applications are now open again. Read more here.
Creative careers all about connections
A survey into London's creative and cultural industries found that “who you know” still plays a key role in getting work. The report, by the think tank Centre for London, said that success in the creative sector is “not about how talented you are” but about connections and “how you know them.” Read more here.
Q Management closes
Acting agency Q Management has closed with immediate effect as part of a “business realignment.” The agency represented actors aged between 18 and 30 and was part of the Pauline Quirke Academy. Founded three years ago, the closure will now see PQA focus on drama education and representing under 18s. Read more here.
Check Out: Backstage UK Magazine