Controlling immigration: the snake oil of our time

Nigel Farage has rolled into a village with all sorts of problems and has offered an illogical but easy panacea. The problem comes when the other politicians try to "out-Farage" him.

Today, I watched as a monarch, wearing a crown encrusted with more than 3,000 precious gems, announced to a group of lords and bishops what “her” government’s plans for the Parliamentary session were and granted them God’s blessing. Later, in the ironically named House of Commons, the Eton-educated, millionaire grandson of a baronet, a direct descendent of King William IV and fifth cousin of the aforementioned monarch, gave further details. If this is a democracy, it is cleverly disguised on days like these.

Tightening control of immigration, as expected, occupied centre stage. Piecing together leaks, briefings and subsequent announcements, this appears to include restricting benefits and healthcare (presumably to address the relevant “tourisms”), access to driving licences, forcing landlords to check a tenant’s immigration status, ensuring surviving foreign spouses do not collect pension benefits to which equivalent British spouses would be entitled. In the analysis which followed, we were assured repeatedly that all this had nothing to do with the recent surge in Ukip’s popularity.

Do I have a problem with a bill designed to "ensure that this country attracts people who will contribute and deter those who will not"? Absolutely not. Similarly, I would have no problem, in principle, with a Bill designed to ensure that the eastern grey kangaroo ought to be a protected species in Hampshire. Is there any actual evidence that either is a real problem which merits legislative priority? Absolutely not.

Evidence from the DWP on the relative burden imposed by EU migrants on welfare is unequivocal: of the 1.8 million non-British EU citizens of working age living here, about 5% claim an "out of work benefit" compared with 13% for Britons. And what about other services? Unsurprisingly, since the majority of migrants are young healthy adults, research shows that they impose a disproportionately small burden on health and education.

All the much ballyhooed "health tourism" costs the NHS between £7m (according to the Health Minister) and £20m (according to the Prime Minister). How much money would you need for the administration of a system in which every doctor and nurse, in every practice and hospital, would be made to check the nationality and immigration status of every potential patient?

All in all, a comprehensive study of the last wave of migration from countries which acceded in 2004 demonstrates conclusively that year after year they contributed to the public purse roughly 30% more than they cost. In short, they are a huge asset. How is it, then, that we (I am one such migrant, albeit from a different era) find ourselves in the eye of a political storm and the target of sustained attack?

It would be facile to say that the answer is Nigel Farage. He has merely acted as the catalyst, by stepping into an emotional vacuum left by mainstream parties. The British economy is in deep distress and crying like a baby, not conscious of or unable to express the source of its discomfort. The other leaders were standing over the cot arguing about whether it is hungry or thirsty or teething or has colic. Farage has stepped into the nursery picked it up and put a dummy in its mouth. The dummy will do nothing to address the underlying problem, but it is comforting.

Like a Snake Oil salesman, he has rolled into a village with all sorts of problems and has offered an illogical but easy panacea. Unemployment? Lack of economic growth? Unfairness? Corruption? Arthritis? Unrequited love? Try some of this Bash-A-Foreigner ointment and everything will be dandy - or your money back.

The real problem arises when Cameron, who purports to be the village pharmacist, decides it is too difficult to disabuse people of this notion and easier to get into the Snake Oil racket. It legitimises the confidence trick and emboldens the charlatan. All Farage needs to do is make the - now legitimate - claim that he sells The Original Snake Oil. Avoid Imitations.

And the confidence trick is a rather gigantic one. The OECD says income inequality is growing in this country faster than any other rich nation in more than 40 years. The richest 300 people in the world possess more wealth than than the poorest three billion – the equivalent of the populations of the UK, the US, India, Brazil and China combined. The annual income of the 100 richest people could end global poverty four times over. Stocks in the UK and the US hit pre-crisis peaks, but nothing is “trickling down” and absolutely no action has been taken to avert another shock which will kick us like a FTSE in the Nasdaqs.

At a time like this, when we all sharpen our elbows and worry increasingly about securing a more equitable slice of the pie, a job which pays a living wage, care when we are old or sick or both, a safety net of kindness, an education and a future for our children, the idea that the people standing in our way are fictional Romanians and foreign widows is not only daft, but immensely dangerous. Roll up, roll up.

The Queen with an immigrant. Photo: Getty

Greek-born, Alex Andreou has a background in law and economics. He runs the Sturdy Beggars Theatre Company and blogs here You can find him on twitter @sturdyalex

Photo:Getty
Show Hide image

Britain's diversity crisis starts with its writers. Here's why

What happens on the casting couch draws the headline, but the problem starts on the page, says James Graham. 

I’m a playwright and screenwriter, which – pertinent to the issues we’ll be discussing in this enquiry – still feels weird to say. I get embarrassed, still, saying that, in a taxi or hairdressers. I don’t know why I still carry that insecurity about saying I’m a writer, but I do, because it sounds like I’m lying, even in my own head.

Obviously I’m completely biased, and probably overstating the influence and importance of my own profession, but I think so many of the problems surrounding lack of representation in the performing arts start with writers.

If we aren’t encouraging and generating writers from certain communities, classes or backgrounds to tell their stories, to write those roles, then there’s not going to be a demand for actors from those communities to play them. For casting agents or drama schools to prioritise getting diverse actors on stage. We need to create those plays and TV dramas –like the ones that I grew up with. I didn’t have any access to much theatre until I was fifteen, but I did have Boys From the Black Stuff, and I did have Cracker, and I did have Band of Gold. I think the loss of those regional producing bodies – Central, Granada – now all completely centralised into London, means that we just tell less of those stories. I remember a TV show called Boon – anyone? – which was set in Nottingham, and I would see on the TV streets I’d walked down, and think, Oh my God, that actor is walking down a street I’ve walked down. That sounds like it’s insignificant. If you’re from a town that is deprived, that feels ignored, it isn’t.

I was very lucky that at my school (which was, at the time, the largest comprehensive school in the country), from the headmaster down to the drama teachers, everyone just believed that working class kids should do plays. Be in plays, read plays, perform plays to the community. Both inside the curriculum of the school day, and outside it – drama teachers dedicating their time to staying behind. Our head of drama identified a group of us who clearly had a passion for it. We weren’t likely thesps. One lad’s entire family were made unemployed when the pit closed. Many lived on the big council estate. My parents and step-parents worked respectively in warehouses, the local council, or as the local window cleaner (incidentally, my first real job. Which I was terrible at).

Our drama teacher was encouraged and determined enough to launch the first ever Drama A-Level in our school. Based on that, about 10 or 12 of us got the confidence – or arrogance – to take our own show to the Edinburgh Festival. We were 16 or 17, and the first people in our community to ever go to visit the festival. We did a play up there, and after that, a psychological unlocking happened, where I thought: maybe I could do a degree in drama (it was the first time I had ever thought to do so) at university (the first in my family to go. Well, joint-first. My twin sister went on the same day, but I walked into my digs first).

I enrolled in drama at Hull University. A high proportion of my peers were middle class. A higher proportion from London or the South East. They talked often about institutions I had never heard of. They were talking about the National Theatre: I didn’t know we had a national theatre that my parents had been paying tax for that I had never been to. Many had performed with the (again, apparently) ‘National’ Youth Theatre, also in London. Paul Roseby, also on this panel, has made such leaps forward in getting the NYT producing in regional venues, and making auditions possible for people across the UK, but unfortunately, at the time, that wasn’t the case for me – and I was the ideal candidate to be in the National Youth Theatre.

I started writing because I had the confidence after I read texts by people like Jim Cartwright, Alan Bennett, John Godber, Alan Ayckbourn: Northern writers, working class writers that made me think it wasn’t just something that other people do.

After returning home, and working at local theatres, I moved down to London. I had to. The major new writing producers are there. All the TV companies are there. The agents are there. I was lucky to find support in a pub fringe theatre – though the economics meant there was no money to commission, so I wrote plays for free for about four years, that would get produced, and reviewed in the national press, while I worked various jobs in the day and slept for a time on a mate's floor. The first person to ever pay to commission me to write a play was Paul Roseby of the National Youth Theatre. I’m now very lucky to be earning a living doing something I love. In a way, compared to actors, or directors, it’s easier for writers who don’t come from a background that can sustain them, financially, in those early years. Your hours can be more flexible. Yes, it was annoying to miss rehearsals because I had a shift in a call centre, but it was still possible to do it. If you’re an actor or director, you’re fully committed. And if you’re doing that for nothing, there starts to be cut-off point for those from backgrounds who can’t.

I’m sure that local and regional theatres are the key to drawing in talent from less privileged backgrounds. But the range of national arts journalism that cover work outside London has been so significantly reduced. In our little echo chamber a few weeks ago, we theatre types talked about Lyn Gardner at the Guardian. Her coverage has been cut, which is very directly going to affect her ability to cover theatre shows outside of London – and so the self-fulfilling cycle of artists leaving their communities to work exclusively in London takes another, inevitable, turn.

I am culpable in this cycle. I have never done a play at the Nottingham Playhouse, my local producing house growing up – why? Because I’ve never submitted one, because I know that it will get less national press attention. So I just open it in London instead. That’s terrible of me. And I should just bite the bullet and say it doesn’t matter about the attention it gets, I should just go and do a story for my community. And if I, and others, started doing that more, maybe they will come.

I also want to blame myself for not contributing back to the state schools that I come from. I really really enjoy going to do writing workshops with kids in schools, but I would say 90 per cent of those that I get invited to are private schools, or boarding schools, or in the South of England. Either because they’re the ones that ask me, because they’re the ones who come and see my shows in London and see me afterwards backstage, or because they have the confidence to email my agent, or they have the budget to pay for my train ticket. Either way, I should do more. It would have helped the younger me so much to meet a real person, from my background, doing what I wanted to do.

I don’t know how to facilitate that. I take inspiration from Act for Change, creating a grassroots organisation. I know that there is a wealth of industry professionals like me who would, if there was a joined-up structure in place that got us out there into less privileged communities, we would on a regular basis go to schools who don’t get to meet industry professionals and don’t unlock that cultural and psychological block that working class kids have that says, that is not for me, that is something that other people do, I would dedicate so much of my time to it. That’s just one idea of hopefully better ones from other people that might come out of this enquiry.

James Graham is a playwright and screenwriter. This piece is adapted from evidence given by James Graham at an inquiry, Acting Up – Breaking the Class Ceiling in the Performing Arts, looking into the problem of a lack of diversity and a class divide in acting in the UK, led by MPs Gloria De Piero and Tracy Brabin.