Maternity and Paternity Leave and Pay are essential, for full time professionals who choose to start families together, and artists and creatives are no exception to this rule. Working parents who perform for a living, should have the financial support, to balance a full time job, with full time childcare, so that they are can raise a family, while pursuing a great career. But this is not as straightforward as it may seem.
Going from contract to contract, it may not be easy to guarantee contractual maternity pay, without a steady paycheck from an employer in the performing arts industry. And in our Gig Economy, this lack of lonegevity may make it hard to plan for the future.
So the question remains: how to guarantee steady maternity/paternity pay - aside from the bare minimum state paid leave that the govenment can provide, and what performers and creatives can collect from their contracts? While i dont claim to have expertise in this area, there are i believe, two possible options available to working parents who perform for a living.
The first option is through union contributions. Regardless of your current employer, your trades union is one constant source of investment from yourself and other arts professionals. So it makes sense, to use it as such.
If you perform full time and plan to start a family, i suggest petitioning your union to set up a maternity/paternity package, that you can contribute to, on a monthly, or bi-annual basis. Your union might consider talking to a big insurance company, to set one up a specialised collective savings account on your behalf.
The account would exist as a special 'pot' for you to cash in, if and when you have children. This would have to have large scale support to work, and would probably work best as a large scale collective investment, but as the larger arts unions already offer specialised insurance for performers, then they could consider this as well.
Your other option is to consider a maternity/paternity package, attatched to your pension 'pot'. While unlikely, it might just be possible that some of the big pension providers might be persuaded to offer this, as a special deal for their customers.
The savings option is the more likely of the two, as savings accounts - certainly in the uk - are tax free places, where you can put large amounts of money away for that important time in your life, when you decide to start a family.
Professionals in many other industries are supported as a matter of course, for their maternity and paternity leave. And if you perform for a living, you should have the financial support to do the same.
Monday, 12 February 2018
Saturday, 3 February 2018
Wolverine Sings Again
It s great to see that 'The Greatest Showman' - the latest musical biopic, telling the life of showbiz pioneer, P.T Barnum - has been so well received by the public. Hugh Jackman and a talented ensemble, certainly deserve some of the praise for this hit movie. But there is also the question of the concept itself.
I had thought that a 21st century audience simply wouldnt accept a cast of characters who spontaneously break into musical numbers. Sure, your typical squeeky clean MGM movie in the 20th century might do it: but would an audience allow Wolverine to burst into song?
Apparently yes. The Greatest Showman has been a big hit - not just with the musical theatre audiences, but with the mainstream public too. Zac Effron for one, has shown he can be more than eye candy, with some impressive dance routines - and vocals too. His duet with Zendaya - Rewrite The Stars, is the kind of song that makes a great chart hit too. And it s heartening to see, how a modern musical adaptation of a showbiz icon, has been a hit in our 21st century digital age.
Musicals are great on a stage, because the combination of live music, dance and theatre enhances the performance: an audience being so close to the action. But what about on a screen? Could the same energy translate to a great celluloid performance? And could it be as moving to an audience as a live performance?
Digital streaming of live performances has proved a surprisingly good at drawing in audiences who cant travel to the West End, Broadway (or Moscow in the case of ballet!) to see their favourite shows.
And come to think of it, the musical format has still been a huge hit with modern audiences, with films like Burlesque and 8 Mile, using musical numbers and dance, to tell the story. Then of course, there have been onscreen musical adaptations of Chicago Sweeney Todd and Nine, to name but a few.
I suppose we are so used to seeing music videos on our phones, that telling a story through song isnt so hard for a digital viewers to sit through and enjoy.
So modern musical adaptations do seem to work for a 21st century audience. The only question is: when will we hear Wolverine sing - again?
I had thought that a 21st century audience simply wouldnt accept a cast of characters who spontaneously break into musical numbers. Sure, your typical squeeky clean MGM movie in the 20th century might do it: but would an audience allow Wolverine to burst into song?
Apparently yes. The Greatest Showman has been a big hit - not just with the musical theatre audiences, but with the mainstream public too. Zac Effron for one, has shown he can be more than eye candy, with some impressive dance routines - and vocals too. His duet with Zendaya - Rewrite The Stars, is the kind of song that makes a great chart hit too. And it s heartening to see, how a modern musical adaptation of a showbiz icon, has been a hit in our 21st century digital age.
Musicals are great on a stage, because the combination of live music, dance and theatre enhances the performance: an audience being so close to the action. But what about on a screen? Could the same energy translate to a great celluloid performance? And could it be as moving to an audience as a live performance?
Digital streaming of live performances has proved a surprisingly good at drawing in audiences who cant travel to the West End, Broadway (or Moscow in the case of ballet!) to see their favourite shows.
And come to think of it, the musical format has still been a huge hit with modern audiences, with films like Burlesque and 8 Mile, using musical numbers and dance, to tell the story. Then of course, there have been onscreen musical adaptations of Chicago Sweeney Todd and Nine, to name but a few.
I suppose we are so used to seeing music videos on our phones, that telling a story through song isnt so hard for a digital viewers to sit through and enjoy.
So modern musical adaptations do seem to work for a 21st century audience. The only question is: when will we hear Wolverine sing - again?
Sunday, 10 December 2017
Tim Firth is Right
Following Tim Firth's assertion in The Stage Magazine, that there should be more 'mid-scale' venues for musical theatre, I think there is a way to support this, from what was written elsewhere in The Stage.
There was an interesting article, by Phil Willmott, about the various schemes that are used to developing the next big musical project. Reading through the article, these schemes certainly do seem to offer a lot of good support. And so, the is an idea I'd like to put forward, that may allow one to help the other. My idea is this.
What if the leaders and organisers of the schemes mentioned below, came together and co-ordinated their efforts, to form a new mid-level musical theatre 'federation' of sorts, to develop - and to house - new to mid level musicals?
This may seem quite a tough challenge, but I believe that the combined resources of all musical theatre schemes, could more than fund and supply key mid-level venues around the country. After all, there are now numerous musical theatre courses being offered at universities and colleges, so the recognition for musical theatre as an industry are on the up. And this kind of collaboration, would create even more opportunities for musical theatre performers and creatives.
The schemes include:
Sources: The Stage Magazine, December 7, 2017 pgs 3, 24
There was an interesting article, by Phil Willmott, about the various schemes that are used to developing the next big musical project. Reading through the article, these schemes certainly do seem to offer a lot of good support. And so, the is an idea I'd like to put forward, that may allow one to help the other. My idea is this.
What if the leaders and organisers of the schemes mentioned below, came together and co-ordinated their efforts, to form a new mid-level musical theatre 'federation' of sorts, to develop - and to house - new to mid level musicals?
This may seem quite a tough challenge, but I believe that the combined resources of all musical theatre schemes, could more than fund and supply key mid-level venues around the country. After all, there are now numerous musical theatre courses being offered at universities and colleges, so the recognition for musical theatre as an industry are on the up. And this kind of collaboration, would create even more opportunities for musical theatre performers and creatives.
The schemes include:
- Stiles and Drew Prize and Mentorship
- Mercury Musical Developments and BEAM
- Book, Music and Lyrics (BMI)
- The Other Palace
- New Musical Development Collective
- Perfect Pitch
- Katy Lipson, Aria Entertainment and Page to Stage
That is my idea, and scheme leaders who are reading this: if you pool your resources, you will more than achieve your aims.
Sources: The Stage Magazine, December 7, 2017 pgs 3, 24
Monday, 6 November 2017
Fighting Harrassment - How HR Could Help Freelance Performers
A lot has been said recently in The Stage magazine, about the use of HR professionals, to help protect performers and creatives in the arts industry, against harassment. Having worked in HR roles for some years, I do agree with the commentators' suggestion. But while should be official structures and protectors in place, to guard against another Weinstein-style abuse of power; there are also practicalities that we must consider.
First of all, there is the cost and level of experience to bear in mind. From my HR experience so far, I would say that performers and creatives would need an HR Officer, -fully CIPD qualified - with a clear experience of Employee Relations, to be able to enforce protection against harassment, and ensure that respect is given to performers and creatives, as employees. (Some HR practitioners specialise in this field, but not all.) That means a hefty salary that must be paid: bearing in mind that most HR Officers are ranked above average pay scale. Larger arts organisations might employ such professionals in this way: but what about the freelance individuals, who move on a contract basis, throughout the industry?
One possible suggestion I have, would be to have regional 'Reps', employed collectively by all freelancers in the region, paying like a co-operative: as the HR Officer would need a steady wage, and if payment was spread across several hundred freelancers, this might be manageable. But this in turn, throws up another problem. To whom would a freelance-employed HR Officer be answerable? This I think, would be where the concept hits a wall.
In every organisation and HR team I have worked, there has always been a clear chain of liability. Employment law is very clear on this point. The HR staff must always have a boss, or be employed by a recognised legal entity, as the nature of Human Resources means that there are legal issues of accountability; everything from new starters to payroll must be audited, monitored, and held accountable by the employer. That means that every HR professional can only operate within a structured organisation: they might contract out their services, but once in their contract, the same organisational structure always comes into play.
That is why I disagree with the comments made, that full time performers should have HR, as opposed to relying on their unions for protection. HR professionals work effectively within an organisation, but for freelancers, I think that the best solution would be: a specialised union rep. Think about it: who is on whose payroll? HR professionals do make sure that employers comply with the law; but when push comes to shove, I would argue that the employer is paying them to represent their side first in a dispute: certainly during any formal grievance procedures, involving cases of bullying and harrassment.
The unions, on the other hand, are paid directly by their members, to represent them, and if you as an employee are involved in a dispute, they are there to represent your side. After all, you pay them to do so! I have seen this arrangement in many of the industries I have worked for, and the same would apply to the performing arts.
That is why, freelancers should consider having a specialised union rep, who is trained in Employee Relations, and knows how to defend employees against harassment. This is what you should encourage your union to do. And for anyone who isn't yet in a union, I would advise you join one. The more members a union has, the stronger its bargaining power, to enforce rules, and fight to protect you from harassment. For arts employees at work, I think this would be the best way to ensure and enforce respect for all.
First of all, there is the cost and level of experience to bear in mind. From my HR experience so far, I would say that performers and creatives would need an HR Officer, -fully CIPD qualified - with a clear experience of Employee Relations, to be able to enforce protection against harassment, and ensure that respect is given to performers and creatives, as employees. (Some HR practitioners specialise in this field, but not all.) That means a hefty salary that must be paid: bearing in mind that most HR Officers are ranked above average pay scale. Larger arts organisations might employ such professionals in this way: but what about the freelance individuals, who move on a contract basis, throughout the industry?
One possible suggestion I have, would be to have regional 'Reps', employed collectively by all freelancers in the region, paying like a co-operative: as the HR Officer would need a steady wage, and if payment was spread across several hundred freelancers, this might be manageable. But this in turn, throws up another problem. To whom would a freelance-employed HR Officer be answerable? This I think, would be where the concept hits a wall.
In every organisation and HR team I have worked, there has always been a clear chain of liability. Employment law is very clear on this point. The HR staff must always have a boss, or be employed by a recognised legal entity, as the nature of Human Resources means that there are legal issues of accountability; everything from new starters to payroll must be audited, monitored, and held accountable by the employer. That means that every HR professional can only operate within a structured organisation: they might contract out their services, but once in their contract, the same organisational structure always comes into play.
That is why I disagree with the comments made, that full time performers should have HR, as opposed to relying on their unions for protection. HR professionals work effectively within an organisation, but for freelancers, I think that the best solution would be: a specialised union rep. Think about it: who is on whose payroll? HR professionals do make sure that employers comply with the law; but when push comes to shove, I would argue that the employer is paying them to represent their side first in a dispute: certainly during any formal grievance procedures, involving cases of bullying and harrassment.
The unions, on the other hand, are paid directly by their members, to represent them, and if you as an employee are involved in a dispute, they are there to represent your side. After all, you pay them to do so! I have seen this arrangement in many of the industries I have worked for, and the same would apply to the performing arts.
That is why, freelancers should consider having a specialised union rep, who is trained in Employee Relations, and knows how to defend employees against harassment. This is what you should encourage your union to do. And for anyone who isn't yet in a union, I would advise you join one. The more members a union has, the stronger its bargaining power, to enforce rules, and fight to protect you from harassment. For arts employees at work, I think this would be the best way to ensure and enforce respect for all.
Wednesday, 28 June 2017
Supporting Offstage Professionals
Offstage employees are as important to the performing arts industry, as the performers on stage. And yet as one independent report has said (link below), these employees are not given the support they need for a good career.
As I suspected, the access to the arts industry is a problem, through voluntary work and unpaid internships. There needs to be a proper career path to becoming a producer, technician or other offstage professional.
To overcome most of the challenges, I think there need to be more technical apprenticeships, and open networking into the arts sector, through more groups like ours. There also needs to be more in house training, to allow people to develop within the industry.
And then there's the issue of pay. I think this can only be solved by a Living Wage for all offstage professionals industry-wide.
We need to remember, that the offstage production is as important for the arts, as performance itself.
https://www.thestage.co.uk/news/2017/offstage-report-demands-urgent-skills-overhaul-exclusive-antiquated-sector/
As I suspected, the access to the arts industry is a problem, through voluntary work and unpaid internships. There needs to be a proper career path to becoming a producer, technician or other offstage professional.
To overcome most of the challenges, I think there need to be more technical apprenticeships, and open networking into the arts sector, through more groups like ours. There also needs to be more in house training, to allow people to develop within the industry.
And then there's the issue of pay. I think this can only be solved by a Living Wage for all offstage professionals industry-wide.
We need to remember, that the offstage production is as important for the arts, as performance itself.
https://www.thestage.co.uk/news/2017/offstage-report-demands-urgent-skills-overhaul-exclusive-antiquated-sector/
Sunday, 24 April 2016
Arts Apprenticeships
Here's an idea I've been having for a while, about how we can create more opportunities for apprenticeships in the arts for our region and for others. We have the connections and expertise in our group, to make it happen.
Looking at the apprenticeships for the artistic profession in the UK, I can see that although apprenticeships are available for similar professions, such as technicians, and events promoters; there doesn't seem to be courses available for theatre directors and producers:
https://www.gov.uk/government/collections/arts-media-and-publishing-apprenticeships
From what I have been told, the career paths to becoming directors and producers are not easy ones, and have not been clear cut. Even if they were, I still think we need to set up more opportunities for people in our region to train in backstage production to make it more accessible for young apprentices - and of course, the same goes for scholarships and bursaries for onstage performance as well.
Fortunately, we have exactly the right contacts within our LinkedIn group, to be able to set these kind of apprenticeships up:
https://www.linkedin.com/groups/8342825/profile
Some of our members are involved with Theatre In Education and hence they understand the learning aspect of such an operation. Others have connections within universities, who could enable training programmes and schemes to be put together. And finally, some of our members own or manage the organisations, where places for apprenticeships could be offered.
If we co-ordinate our efforts, I know that we could actually find, plan and set up apprenticeship opportunities in at least a few of our members' organisations. You have the talent, expertise, and the connections. Any suggestions or ideas you have on this are certainly welcome.
Let's think about how we could co-ordinate our organisations' efforts to make this happen.
Best Regards
James M
Founder
Tuesday, 1 March 2016
What the GMTG Performing Arts Group (on Linkedin) Is About
Hi All
As we're close to reaching 50 members, I thought I should say a few words about what our group is for, and celebrate what we've done so far. GMTG Performing Arts Group, is a networking group, to allow arts professionals to connect and network online with one another. It was originally founded for members and Alumni from Birmingham University's Guild Musical Theatre Group, who will continue to play a part in it. But as many people pointed out, it would be useful to involve other artists and creative as well, to help the arts, and so I have opened this group for all who are willing to join.
Since then, many others have begun joining our group, and we now have a diverse range of artists, creative and arts enthusiasts, who can combine passion, and skill, to create many new opportunities for each other. But this group is more than just another social media group. It is also a showcase to the business community.
The reason I chose LinkedIn to host this group, is that LinkedIn is deliberately designed for business networking. Anyone who is serious about networking online usually has a LinkedIn profile: and more importantly, the kind of people looking at LinkedIn groups online, are the ones who control the funding and resources for your businesses.
Many times, I have heard the cliché that the performing arts isn't really a profession people should go into. Many of you are living proof that that simply is not true. From my work in HR, I know that a profession is a profession, no matter what it is or what it involves. All professions are hard, and all have their challenges. But that is why we build networks to support professionals in the field, and to create opportunities. This is one such group, that I hope in time, will be build into an arts network for all its members.
As well as being an online group I have been hoping to hold some events, to allow people to exchange contact details and information. I have been speaking to one of our members, Jess Swift, about a possible Q and A session, involving members and Alumni of GMTG among others.
Also, as per the suggestions of West End Producer, Tristan Baker, I plan to invite all former leaders and organisers of GMTG - I personally want all former committee and production team members who work in the arts - to join our group, and help build this up even more.
So if you know anyone who works in the arts or entertainment industry, including members and Alumni of GMTG, then please do invite them to our group. And in the meantime, you are more than welcome to make use of this group for networking, contacts, job opportunities, resources and ideas.
Welcome one and all to the GMTG Performing Arts Group.
Best Regards
James M
Founder
As we're close to reaching 50 members, I thought I should say a few words about what our group is for, and celebrate what we've done so far. GMTG Performing Arts Group, is a networking group, to allow arts professionals to connect and network online with one another. It was originally founded for members and Alumni from Birmingham University's Guild Musical Theatre Group, who will continue to play a part in it. But as many people pointed out, it would be useful to involve other artists and creative as well, to help the arts, and so I have opened this group for all who are willing to join.
Since then, many others have begun joining our group, and we now have a diverse range of artists, creative and arts enthusiasts, who can combine passion, and skill, to create many new opportunities for each other. But this group is more than just another social media group. It is also a showcase to the business community.
The reason I chose LinkedIn to host this group, is that LinkedIn is deliberately designed for business networking. Anyone who is serious about networking online usually has a LinkedIn profile: and more importantly, the kind of people looking at LinkedIn groups online, are the ones who control the funding and resources for your businesses.
Many times, I have heard the cliché that the performing arts isn't really a profession people should go into. Many of you are living proof that that simply is not true. From my work in HR, I know that a profession is a profession, no matter what it is or what it involves. All professions are hard, and all have their challenges. But that is why we build networks to support professionals in the field, and to create opportunities. This is one such group, that I hope in time, will be build into an arts network for all its members.
As well as being an online group I have been hoping to hold some events, to allow people to exchange contact details and information. I have been speaking to one of our members, Jess Swift, about a possible Q and A session, involving members and Alumni of GMTG among others.
Also, as per the suggestions of West End Producer, Tristan Baker, I plan to invite all former leaders and organisers of GMTG - I personally want all former committee and production team members who work in the arts - to join our group, and help build this up even more.
So if you know anyone who works in the arts or entertainment industry, including members and Alumni of GMTG, then please do invite them to our group. And in the meantime, you are more than welcome to make use of this group for networking, contacts, job opportunities, resources and ideas.
Welcome one and all to the GMTG Performing Arts Group.
Best Regards
James M
Founder
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