Joanna Scanlan among actors backing gender equality push in theatre

Women in Theatre Lab: Addressing Gender Inequality in the Industry

Introduction

Gemma Arterton, Joanna Scanlan, and Stella Kanu are among the supporters of the Women in Theatre Lab, an initiative aimed at promoting women in the theatre industry. According to the founder of the project, women in theatre are being overlooked and the lab seeks to address this issue.

The Role of Women in Theatre Lab

The Women in Theatre Lab will primarily serve as an incubator for playwriting and acting talent. In addition, the group will exert pressure on Arts Council England (ACE) to conduct a review of gender inequality across the arts.

Addressing Gender Inequality

Jennifer Tuckett, the founder of the lab, emphasized the lack of action being taken to address gender inequality in the industry. She called on ACE to establish a gender advisory group, similar to the way it addresses race and disability issues.

Tuckett highlighted that gender inequality has been overlooked and falsely regarded as a resolved problem, despite research indicating otherwise.

Research Findings

Research conducted by Tuckett in collaboration with organizations such as the Writers’ Guild of Great Britain, Equity, Stage Directors UK, and the December Group revealed that over 60% of women in UK theatre are considering leaving the industry. Furthermore, 85% of them are concerned that gender inequality will worsen after the Covid pandemic.

A previous study by Tuckett found that in 2020, only 31% of artistic directors in British theatre were women, compared to 36% in 2012 when The Guardian conducted an in-depth analysis of the gender gap in theatre.

ACE’s own research into the gender pay gap in the arts showed an increase from 2.2% in 2022 to 4.7% in 2023.

The Lab’s Approach

The Women in Theatre Lab will adopt a model similar to those in the US and Australia, where established writers provide one-to-one mentoring sessions. The lab will also offer online and in-person advice sessions at the Jermyn Street theatre in London.

Supporters of the Lab

Prominent figures supporting the lab include playwright April de Angelis, who believes it is necessary to address gender inequality in theatre, and actor Gemma Arterton, who sees the lab as an opportunity to create new avenues for women.

Doon Mackichan, the Emmy award-winning co-creator of Smack the Pony, expressed optimism that the lab can bring about positive change for women in the industry. Joanna Scanlan, who is contributing advice sessions to the lab, believes a new era for playwriting is on the horizon.

Stella Kanu, the co-founder of Black Womxn in Theatre and the chief executive of the Globe theatre, finds it exciting to provide space and a platform for female playwrights and showcase important voices that need to be heard.

Other supporters of the lab include playwright Timberlake Wertenbaker, Stella Powell-Jones (artistic director of the Jermyn Street theatre), and Jude Kelly (former artistic director of the Southbank Centre).

Engagement with Arts Council England

Following a meeting in March, where Jennifer Tuckett presented the findings of a five-year research project by Women in Theatre on gender disparities within theatre, ACE agreed to work on several issues, including access to childcare.

ACE’s chair, Nicholas Serota, along with the director of theatre, Neil Darlison, and the director of strategy, Michelle Dickson, attended the meeting. They expressed their consideration of establishing a gender advisory board.

Advocacy for Gender Equality

Various groups have been urging ACE to prioritize gender equality for several years. In 2020, the arts funder was criticized for its “serious disregard” for women in its 10-year strategy by Maureen Beattie, the then president of Equity, and Polly Kemp, co-founder of ERA 50:50. Both Beattie and Kemp are also supporters of the Women in Theatre Lab.

A spokesperson for ACE stated that they welcomed the meeting and found the insights and experiences shared by the group to be valuable. They assured that the ideas presented by industry bodies would be taken into consideration for future steps.

SDGs, Targets, and Indicators in the Article

1. Which SDGs are addressed or connected to the issues highlighted in the article?

• SDG 5: Gender Equality
• SDG 10: Reduced Inequalities
• SDG 8: Decent Work and Economic Growth

2. What specific targets under those SDGs can be identified based on the article’s content?

• SDG 5.5: Ensure women’s full and effective participation and equal opportunities for leadership at all levels of decision-making in political, economic, and public life.
• SDG 10.2: By 2030, empower and promote the social, economic, and political inclusion of all, irrespective of age, sex, disability, race, ethnicity, origin, religion, or economic or other status.
• SDG 8.5: By 2030, achieve full and productive employment and decent work for all women and men, including for young people and persons with disabilities, and equal pay for work of equal value.

3. Are there any indicators mentioned or implied in the article that can be used to measure progress towards the identified targets?

• Indicator for SDG 5.5: Proportion of seats held by women in national parliaments and local governments.
• Indicator for SDG 10.2: Proportion of people who feel safe walking alone around the area they live.
• Indicator for SDG 8.5: Gender wage gap.

Table: SDGs, Targets, and Indicators

Explanation:

The article highlights the gender inequality in the theatre industry and the need to promote women’s participation and opportunities. This aligns with SDG 5: Gender Equality. The targets under SDG 5 that can be identified are to ensure women’s full and effective participation and equal opportunities for leadership at all levels of decision-making in political, economic, and public life (SDG 5.5). The indicator for measuring progress towards this target is the proportion of seats held by women in national parliaments and local governments.

The article also addresses the issue of reduced inequalities, as women in the theatre industry face gender disparities. This connects to SDG 10: Reduced Inequalities. The target under SDG 10 that can be identified is to empower and promote the social, economic, and political inclusion of all, irrespective of age, sex, disability, race, ethnicity, origin, religion, or economic or other status (SDG 10.2). The indicator for measuring progress towards this target is the proportion of people who feel safe walking alone around the area they live.

Furthermore, the article mentions the need for decent work and economic growth for women in the theatre industry. This relates to SDG 8: Decent Work and Economic Growth. The target under SDG 8 that can be identified is to achieve full and productive employment and decent work for all women and men, including for young people and persons with disabilities, and equal pay for work of equal value (SDG 8.5). The indicator for measuring progress towards this target is the gender wage gap.

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Source: theguardian.com

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