Northern Creative, Yeah, Its Tough Innit

It seems as time has begun the North v South divide has always been prominent, not just economically, politically and socially but creatively too. In most areas, it’s always been the North that suffers, things may have improved from decades prior, but that price will never be forgotten. 

As a creative individual (acting and writing), it’s instilled from the beginning of that dream that it's going to be a ‘tough road’, due to the lack of funding and opportunities around me. 

Instead, it’s the reality of these great opportunities, that will include cost and duration of trains, hotels and a much longer day than those closer. Getting in the audition room at 11am, but your day started at 3/4am, still trying to give it your best. Quite frankly, I’m tired of it and the excuses made by such ‘national’ organisations that are apparently dedicated to lifting the divide. 

I sympathise and understand that COVID rocked the creative industry financially, which saw many local theatres were forced to close their doors, and the impact continues with organisations having to cut their costs too. However, I do feel after the pandemic opportunities in the north have only slimmed even further.

Even when it comes to drama, art and music schools, a large proportion of them are London based. Especially auditions, require us to travel to their base for an in-person workshop, including having to pay an application fee for some schools too (thankfully many schools are trying or have axed this fee). These requirements cut the chances of most working class and northern talent, even getting into the same room as the panel. 

Therefore, are we surprised to see 42% of BAFTA winners went to fee paying schools, 73% from a middle-class background, because these people can comfortably afford these costs and chances. A £50 application fee and £80 train tickets, not even including tube/bus fare or food/drink, is a big and unaffordable commitment for many - and that’s just for one school. This also doesn’t include the cost of moving and living in London, if successful, which is of course another major holdback. 

Even state secondary schools are limiting or even eradicating creative subjects, not giving students enough opportunity to find or enhance their creative interests, therefore they must seek elsewhere outside of school to do so or give up altogether. Thus, supporting the notion that creative subjects aren’t for the working class. 

It's disheartening to just see the acceptance of this, and how it's portrayed as ‘part of the journey, if you're dedicated enough’. Someone not being able to afford extortionate fees for a drama school audition, absolutely does not mean they're any less talented or dedicated than the individual putting it on daddy’s credit card. It’s a system that’s built to already divide and restrict. 

It ends with many unused talents from the north that get shelved as they must push on and get a non-creative job to pay for bills and ability to have a life. This should be a bigger emergency to the creative arts. The loss of what could’ve and should’ve been, instead we accept and endorse entertainment from people all cut from the same cloth- not discrediting their talent but lord, give us more variation and representation, please. 

Much of the UK public aren’t silver spoon fed or privately educated, so why is the creative industries seemingly only reserved for people of such? 

I more than understand that currently, everything costs money, but how come someone applying for an ordinary academic university won’t face the same hurdles? Just to apply, that is. 

Of course, drama/art/music schools aren’t the only way of achieving a career in those areas, but they’re the most tried and tested journeys that make you feel as though you need to attend to get that shot of achievement. Some great known faces never attended a formal drama school, such as these wonderful trailblazers, Angela Griffin, Maxine Peak, Meera Syal and Jodie Comer.

I must say there is a hopeful increase of phenomenal organisations, within screen entertainment, that are dedicated to telling and incorporating underrepresented and working-class artists, such as Sheffield’s own ‘Warp Films’ and the makers of the astounding ‘Adolescence’, Matriarch Productions. I hope many more will follow suit, creating a haven of opportunities for the unheard and underrepresented. 

A great organisation that highlights the underrepresentation of state educated people is ‘The 93% Club’, Britain's first and largest network of state educated people- also worth a follow-on Instagram to keep up to date and have a slice of optimism on your algorithm, @the93percentclub. 

Another amazing organisation helping underrepresented talent access the UK’s top drama schools, by offering free acting and BTS courses and dedicated to breaking industry barriers is ‘Open Door’. Add to your algorithm of hope and follow @opendoorpeople. 

Another note of hope is the recent award shows which have been triumphed by sensational northern rooted talent, including Wumni Mosaku, Stephen Graham, Owen Cooper, Robert Aramayo and Warp Films. Representation is everything, long may it continue. 

I know reading this may relight the anger and frustration, as this system isn’t an easy or quick one to dismantle, but we must never shut the door on it. Larger organisations have plenty of options they could and should do to enable and ensure their work is affordable and reachable for those not London based and upper class, it's too late and ignorant for excuses, and no Instagram post won’t cut it. However, I must also reiterate the importance and bravery of making and developing your own work, whether it be solo or with a group of friends, as who knows when this stigma will change for good, but I promise your talent and voice must be heard and be listened to now. 

My writing can’t change the world, and this article hasn’t given a two-step guide to success, but it's more of a nod of appreciation, endless support and understanding from one frustrated northern creative to another. I’ll always be a cheerleader for others in the same position. 

I wish I had a genie lamp to redesign this system to make it equal and affordable for all, that could be done by tomorrow lunchtime, as I’m just as tired and annoyed. But we must have hope and we must keep working and representing ourselves and others alike who deserve to be in this space just as much as those who take up most of it already. This article is a toe-dip into the wide ocean of inequalities, struggles and underrepresentation in the entertainment industries, specifically in race, sexuality, age, religion and gender. There is so much more I could say and highlight, plenty I’m sure others have already delved into. Trust me, the success will taste sweeter and remember to leave the door open behind you!

One of my favourite songs for living in unconditional hope is Baz Luhrmann’s ‘Everybody’s Free (To Wear Sunscreen)’, the song of my life. 

Keep your elbows sharpened my loves.

Stay vocal, stay focussed, stay angry and always stay hopeful. 

Till next time chicks, Jessie Bellamy x