Equity is in conversation with SOLT/ UK Theatre and the ITC about how we can further support the rights of our members working in this dynamic way. We seek to clarify for our members the appropriate remuneration and credit for their devising work.
We are working with ITC on further changes to their handbook on devised work to encapsulate directors and designers experiences sufficiently, and in consideration of The Writers' Union's (WGGB) latest guide on devised and collaborative theatre.
It’s a complex, on-going review including multiple unions and organisations.
Devising comes in all shapes and sizes: from grassroots, small scale, publicly funded projects to West End Commercially funded musicals, from one day workshops to four-week Research & Development (R&D) periods.
Our members have reported that:
- They found devised work generally enjoyable and creatively fulfilling but vast improvements need to be made to ensure the sector provides sustainable and safe working arrangements.
- The work is particularly demanding and requires members to put in a lot of effort for often low or no pay.
- Members found the lack of recognition or accreditation for their work in devising works particularly frustrating.
When undertaking devising work, it’s essential to consider the below points and seek clarification from the employer/engager if this information isn’t included in your contract, regardless of how much you are paid.
You should know your rights and have clarity on what will be expected of you and how your work may be used before commencing any project.
Best practice checklist
Equity suggests performers and creatives use this checklist as a simple best practice when thinking about devised work to ensure contracts cover:
- Whether there will be any remuneration/royalties for recordings or future re-stagings of the material, separate to rehearsal/performing fees.
- Whether they will have first refusal on casting/roles for future re-stagings.
- Whether they will be separately contracted to the production and, if so:
○ whether they will be given first refusal for final casting.
○ whether they will be remunerated for their contributions (including through royalties) regardless of their participation in the final production. - Whether they will be credited to reflect their contributions and how they will be credited.
- What happens if a devising cast member is unable to perform in the final production, i.e. if they have completed the devising process and are expected to perform in the production, but have to withdraw. For example, will they still be entitled to any agreed royalties?
- Who owns the copyright.
This checklist is not exhaustive but seeks to guide members on simple best practice.