25 November 2015
This document is designed to be used by members by passing it onto employers who are asking for a member to have or obtain an Enhanced DBS check in order to take up or apply for a role which may not require it. A recent survey of Equity members indicated that there was still widespread misunderstanding by employers and the public about when a check is required. Just because the role may involve contact with children, for example, it does not mean that a DBS check is required. If after approaching the employer with the document they still do not understand then refer them to Michael Day firstname.lastname@example.org. Please note that the document has been checked for accuracy by Equity’s solicitors.
Also note that this is unrelated to the issue of the broadcasters (BBC, ITV, Pact etc) insisting on Basic Disclosure Certificates for Walk-ons and supporting artists for which there is separate guidance elsewhere on the Equity website.
9 October 2015
September 2015 Minutes in Adobe PDF Format
9 September 2015
August 2015 Minutes in Adobe PDF Format
11 August 2015
July 2015 Minutes in Adobe PDF Format
7 February 2015
January 2015 Minutes in Adobe PDF Format.
13 January 2015
December 2014 Minutes in Adobe PDF Format.
25 November 2014
November 2014 Minutes in Microsoft Word (Docx) format.
12 November 2014
This year is an important year for artists working across commercial theatre, as we renegotiate the Equity agreement for all artists working in the sector outside of the West End of London - including most regional tours, pantomimes and a number of non-West End producing houses.
Our claim has been put together after extensive consultation with all artists who have worked on it over the last three years, compiled by a working party of experienced members from the sector – working performers and stage managers who serve on Equity committees and as deps on shows across the country.
Our claim has a straightforward purpose – to set minima that represent what producers can afford to pay. The bigger the show, the bigger the producer, the more that should be returned to the artists involved.
We’ve also heard loud and clear that subsistence and touring allowance is no longer meaningfully contributing to the costs of artists on tour or coming to London to rehearse. Along with proposing a restructure to end unfair clauses like the reduction in touring allowance to subsistence after four weeks in a venue, and a significant rise of around 20% in touring allowance, we’re proposing that subsistence rises to match the rate of touring allowance in every case.
These are your proposals, proposals to make your working lives better and fairer. However, the managers will make their claims of us, and we need to defend existing terms as much as make claims to improve them.
We know that not every proposal of ours will be agreed – and we know that all will meet with resistance. Commercial producers won’t write us a blank cheque, which is why we need you standing up in support of our claim.
Encourage non-members to join our union and stand with us to make our voice louder, and watch out for the newsletters which will keep you updated as to where we are.
29 July 2014
The Live Entertainment Works! campaign has now launched. The aim of the campaign is to approach local venues asking them to display the poster supporting live entertainment and get across the message that the change in licensing law means that it is now easier to put on acts in venues with a capacity of 500 or below. For further information contact Mike Day by phone on 020 7670 0235 or email@example.com
24 February 2014
Equity briefing: changes to National Insurance effective from 6th April 2014