Charles Edwards - screencaps from Trying Again

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Episode 8

Inclusion, Tipping the Velvet, Measure for Measure

A selection of things I have read and listened to recently.

In the Guardian, Lyn Gardner has suggested that inclusion in theatre is an objective in relation to diversity initiatives. She has quoted Brigid Larmour, artistic director at Watford Palace, "unless we stop talking about changing theatre and start actively doing something, every single day, about bringing about change, we will never move on" and referenced John Dyer, director of Credibility, "diversity is asking people to the party but inclusion is inviting them to dance" (via @actforchangehq).

Sarah Waters and Laura Wade discussed the stage production of Tipping the Velvet on Front Row. and in the Independent. Wade adapted Waters' novel. It is playing at the Lyric Hammersmith until 24 October then will transfer to the Lyceum in Edinburgh, 28 October-14 November.

Romola Garai participated in a webchat on the Guardian website, partly to publicise Measure for Measure, which closes 14 November at the Young Vic. She commented on tokenism:

"I think there should be quotas. I think if you're fielding primetime television with 70% and 80% of the parts being white men, you should probably rethink that. There's a lot of tokenism in film and television, with a poster with three white guys, one black guy, and a woman, and that's equality, and it's not equality."

and how she approaches auditions:

"Remember you're auditioning them. Acting is a collaboration with the director, and it's only a worthwhile job if the director respects you completely as an equal. Go into every audition knowing that you're an equal and expect to be treated as such. And have fun collaborating."

Samuel West - The Diary of River Song and Young Chekhov

(sources: Big Finish and the Corner Shop PR)
The cover art for The Diary of River Song is now available. This Big Finish audio drama will be released in January (via Sam's Twitter, @exitthelemming).

Production stills for Ivanov and The Seagull can be downloaded from the Corner Shop PR website (via their Twitter, @tcspr). The plays, which are part of the Young Chekhov season at Chichester Festival Theatre, are currently in previews.

Samuel West - Suffragette, Young Chekhov, The Frankenstein Chronicles

Sam and his partner Laura Wade went to the Suffragette UK premiere at the London Film Festival on Wednesday. He has a "small and cross" part in the film. Pictures from the premiere can be viewed at Rex Features and Getty.

He tweeted a picture of the Young Chekhov schedule for last Saturday - all three plays were performed in one day. @AgricolaTheatre, @DanielHermie, @elle_ess, @BazBam (Baz Bamigboye) and @deborahbonham have tweeted their thoughts on Ivanov and The Seagull. These tweets have been added to this Storify:

The Frankenstein Chronicles will be broadcast in the US on A&E (Entertainment Weekly).

Charles Edwards - Double Acts on Radio 4

Charles and Celia Imrie star in "A Flock of Tigers", the first episode in John Finnemore's Double Acts. It will be broadcast on BBC Radio 4, Friday 16 October at 11.30am.

Creative Industries Federation diversity report

The Creative Industries Federation has released a report about diversity. The report, which was produced in partnership with MOBO, shares views expressed by Act for Change.*

The Federation held a launch for the report at the BFI last Monday. Eliza Easton, the author of the report and CEO John Kampfner spoke at the event, as well as Kanya King (CEO of MOBO), David Oyelowo and Ed Vaizey (Minister of State for Culture, Communications and Creative Industries).
The Guardian has published excerpts from Oyelowo's speech. Other media coverage includes an article by King in the Huffington Post and an interview with King and Kampfner on Front Row (begins at 6:45).

The report focuses on Black, Asian & Minority Ethnic (BAME), women and socioeconomic background as factors contributing to workplace diversity (p. 4). Its principal recommendations are in the following areas (pp. 19, 21, 24, 28):

• Recruitment. Develop a hiring strategy to attract a wider range of candidates.
• Content. Produce content that reflects a diverse society. For instance, programming and commissioning works that represent a range of narratives. In terms of personnel, creative industry organisations "should reflect the society that consumes their products." This has an effect on economic outcomes: the report cites research by McKinsey which suggests that companies in the top quartile for ethnicity and gender diversity were more likely to generate at least 15% financial returns above their respective national industry medians (pp. 13-14).
• Strategy. Conduct an audit to determine the current diversity status of an organisation and take action accordingly. Areas to consider are employment conditions, attitudes and branding. Are there pay gaps when comparing by gender or ethnicity? Do employees require training to recognise conscious and unconscious biases? Does an organisation have diversity as part of its overall vision?

Case studies from organisations such as a production company, communications consultancy and charities show practical applications of these recommendations. What remains to be seen is if other organisations, especially members of the Federation, can also demonstrate a similar commitment to improving and maintaining levels of diversity. Perhaps these outcomes will be addressed in a current partnership - the Federation is working with McKinsey on a project that relates workforce diversity to financial performance (p. 14).

Act for Change is listed in the report's organisational directory (p. 36). Their manifesto intersects with the recommendations in the report: developing a recruiting strategy to obtain a variety of candidates, representing diversity in content and monitoring levels of diversity:

• Recruitment. "By 2016, to secure a revision to the Ofcom Broadcasting Code requiring production companies to audition at least one BAME actor for every leading role, unless an occupational requirement applies. Where an occupational requirement exists the production company must set out, in the casting breakdown, the legitimate aim it hopes to achieve by limiting the role to one racial group."
• Content. "By 2016, to ensure an additional Ofcom standards objective requiring the broadcasting regulator to secure “that the content of television and radio programmes reflects the identity, character and cultural diversity of the UK.”"
• Strategy. "By the end of 2015, to establish an independent body which monitors the diversity levels of those working in TV Drama (both behind and in front of the camera) on an annual basis."

Another common factor between the Federation's report and Act for Change's manifesto is a psychological one. Some individuals in creative organisations will need to recognise biases, whether conscious or unconscious, and adjust their attitudes accordingly. A significant challenge, but an achievable one.


* This is my second post about diversity. I am a newbie to writing about this issue - I previously wrote about Act for Change in August.

Samuel West - Shakespeare, Chekhov, Doctor Who

Sam talks about Romeo and Juliet in "Why Shakespeare is awesome", a video on the Canvas Youtube channel (via his Twitter, @exitthelemming).

The Seagull and Ivanov are currently in previews - these plays are in the Young Chekhov season at Chichester Festival Theatre. In other words...

Oof. Opened two plays this week and it's only Thursday. Time for bed. Sleep well, all.

— Samuel West (@exitthelemming) October 1, 2015

@WhoSFX tweeted a picture of Sam with Kate O'Mara and David Roden (writer, "Dimensions in Time"). 

Convergence of blog people, September edition

[my previous/first convergence of blog people post is here]