‘Written Off’ - Questions for Theatre Literary Departments.

I'm currently working on a report for the Writer's Guild of Great Britain about ageism in theatre with particular focus on writer development opportunities. Below is a series of questions I will put to theatres, but I'd like some feedback before I do that. Have I missed out any questions? Are there any other questions you think I should ask?

We have a Facebook group called 'Written Off! where you can post feedback or you can find my contact details and email me via my website 

1.  Theatres do a great job of targeting underrepresented groups, but not often when it comes to age:  When targeting underrepresented groups in your writer development programmes, do you specifically include older writers as an underrepresented group, and what do you consider to be an older writer?

2.  Age restricted opportunities: Do you run age restricted writer development projects? What are the target age groups? Is this dictated by funding or artistic policy?

3.  There is a perception that open opportunities are not really open to all ages: Where you run writer development opportunities that are not age restricted what are the ages of those who have participated over the past 3 years?

4.  Use of the word ‘Young’ obviously excludes older writers: Do you use the word young in opportunities where there is no age restriction? Have you used the word young where you actually meant new? Are there images of older writers on your website?

5. Finding the very best new writing: Do you have a statement outlining what you aim to achieve through your writer development opportunities? How do you ensure that it encourages the broadest possible range of applicants?

6. In my research so far I have discovered a general preconception that literary departments are run by young white males. Could you share details of your team using basic equality monitoring figures?

7.  In my research so far it has emerged that older women face specific barriers. Do you have opportunities aimed specifically at women that are open to any age? Do you do anything to specifically encourage older women to apply?  If so what are the ages of participants over the past three years?

8. Please give examples of good practice where you feel your organisation is offering good opportunities to older writers, or where your organisation is making an effort to reach this group.    

Written off: Part 2

An open letter to theatre professionals and Artistic Directors

I recently posted a blog about how many writer development opportunities are for young people only, and how older emerging writers feel shut out by theatres.

The response I had was overwhelming.

There is a tidal wave of anger from writers who are excluded from opportunities that didn’t exist for us when we were younger.

Focusing resources on a tiny demographic of an ageing population does not make sense.

It’s time to make a change and you can help.

Any form of discriminatory practice is unacceptable, and the arts world often leads the way in breaking down barriers.  

At the moment a vast number of development opportunities being offered by theatres are not open to people over the age of 25-30. But surely the goal in theatre should be to find the best ‘new’ voices and that doesn’t have to mean ‘young’ voices.

Although there are many opportunities that are age-blind, there is a growing suspicion that by ticking boxes on equality monitoring forms older writers are condemning themselves to the rejection heap. Even when an opportunity is not age restricted, it’s often younger writers who seem to benefit most, causing a suspicion of surreptitious ageism.

However, given the amount of developmental support offered to young writers it could simply be that they are then able to produce work that is tailored to current theatre trends more closely than writers struggling to develop their work in an unsupported void.

One truly unsettling thing that came out of the discussion my blog prompted was how the practice of shutting out older writers had a disproportionate effect on women and on people from working class backgrounds.

I understand that in many cases the age limit of development opportunities is down to the funding available to theatres. And this is where you can help.

We are asking that you challenge the trusts, charities and organisations that fund your writer development projects, and that you commit to exploring further opportunities for older writers.

People emerge creatively at all ages and at all stages of life, so please make it your artistic policy to strive to support all emerging writers with development opportunities so theatre can truly reflect a broad range of voices and life experiences.    

Written off!

I’m old!

I don’t feel old. In fact I don’t feel any different to when I was in my twenties – well maybe a bit smarter and more willing to question the world.  

BUT – as a playwright trying to make my mark on the industry in my fifties I feel truly ancient as there are so many opportunities which are for Young Writers usually under 25.

Which would be fine if those opportunities had been there for me when I was 25, but they weren’t. I come from a very non-arts background and it took me years to find my way into drama school. Then when I realized that writing was what I wanted to do I set up my own company and very quickly was commissioned to write over 30 plays that have been seen by over half a million people. But they were educational theatre, and paid me a much needed wage until I reached a point of security where I was able to start my push towards writing for theatre.

And I’ve done OK, self-producing with Arts Council support. But now I’ve hit a wall, and I’m banging my head against it trying to find support to move to the next level.

There are a few amazing people out there who have given me support, but I still see a strong push to support Young Writers everywhere, as if at my age I should know all there is to know. But I don’t.

I wonder if there’s an issue with the fact that some of the people I need help from are younger than me. I don’t have a problem asking for help from anyone who has knowledge that I don’t, but I wonder if people feel more comfortable supporting people younger than themselves?

I feel like I’m fighting against the saying, ‘You can’t teach an old dog new tricks’ – but sod that! I am hungrier now to gain new skills and to access new knowledge than ever before. And that is I suppose in part because of my age. I am aware of the number of years I might have left to achieve things in – which I was blissfully ignorant of when I was 25.

So apparently age does matter – it makes me hungrier than ever to achieve amazing things, but it also makes it much harder for people to see me as worthy of support.

It feels like ageism is the last acceptable prejudice, but I’m willing to be convinced otherwise.

Any thoughts?