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 email@example.com. 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.
1 September 2015
The current Kent General Branch Newsletter Sept 2015
20 February 2015
Minutes of the Kent Branch Meeting held on 18th January in Gravesend, when the principal guest speaker was Alan Lean, Equity's expert on Tax, Benefits and National Insurance.
12 January 2015
News from the branch and details of the next meeting, with information and help on Taxes & National Insurance, on Sunday 18th January in Gravesend.
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 firstname.lastname@example.org
24 February 2014
Equity briefing: changes to National Insurance effective from 6th April 2014
10 February 2014
Involvement of student members in branches as agreed by the Equity Council, January 2014
19 November 2013
The worlds of the media, arts and entertainment are often seen as glamorous, but a survey of 4,000 workers has revealed these industries are "hotspots" of bullying, with more than half of those questioned (56%) saying they had been bullied, harassed or discriminated against at work.
People who contributed to a survey, commissioned by the Federation of Entertainment Unions, ranged from household names, top screenwriters and performers to those at the beginning of their careers.
The results showed shocking levels of ill-treatment and inappropriate behaviour and a culture of silence, with only a third of those suffering bullying and harassment reporting the incidents.
18 November 2013
An Equity Deputy (sometimes referred to as Equity Dep) is the face of the union in theatres, studios and anywhere else Equity members are working. The Deputy is the union representative for the company they are working with.