Does anyone support the coalition's lobbying bill?

The coalition has succeeded in uniting the TUC, the Taxpayers' Alliance, Labour List, ConservativeHome, Caroline Lucas and Zac Goldsmith against the legislation.

With remarkable ineptitude, the government has succeeded in uniting an extraordinary coalition of political interests against its lobbying bill. Both the left and the right are concerned that the bill (which covers just 1% of lobbying activity) will gag charities, NGOs, think-tanks, trade unions, blogs and other groups by imposing new spending limits on political campaigning in the year before a general election and redefining as electoral activity anything that could affect the outcome of an election (such as criticism of government policy) even if it not intended to do so.

Any organisation that spends more than £5,000 and that engages in political campaigning will be forced to register with the Electoral Commission (with all the accompanying bureaucracy) or or face being shut down. 

As I explain in my politics column in this week's NS, the bill is primarily intended as an assault on trade union funding (Unison was the largest third-party spender in 2010).

 Masterminded by George Osborne, the legislation is designed as a pre-election gift to Tory candidates who have long complained about the union-funded phone banks, leaflets and adverts enjoyed by their Labour counterparts. The bill will reduce the total cap on third-party expenditure in the year before a general election from £989,000 to £390,000 and the cap on constituency spending to £9,750 and broaden the definition of spending to include staff time and office costs, rather than merely the "marginal cost" of leaflets and other materials.

Behind the legalese, the implications are dramatic. The TUC has warned that it could be forced to cancel its 2014 annual congress and any national demonstrations in the 12 months before the next election to avoid breaching the spending limit. 

But so sloppy was the drafting of the bill (ominously for the coalition, it is being piloted by former health secretary Andrew Lansley) that it's far from just trade unions that are concerned. While the government is still likely to pass the legislation in time for the 2015 election, it will now likely only do so by making significant amendments.

Here are some members of the eclectic coalition demanding immediate changes. 

Zac Goldsmith

Douglas Carswell

Ed Miliband 

Caroline Lucas

Guido Fawkes

Labour List

"This whole bill is a brutal attack on free speech and the ability of any group that isn’t a political party to campaign. It utterly destroys any argument that Cameron truly wants to see a Big Society – and it’ll crush those who want to see a real political debate about issues that matter at election time."

ConservativeHome

"The Bill is so loose in its language and so vague in its drafting that anyone who spends over £5,000 on anything that can be in any way said to potentially affect an election will be caught up in the rules it lays out."

The Taxpayers' Alliance

"The bill is a serious threat to independent politics that will stifle free and open democratic debate."

38 Degrees

"The proposed gagging law would have a chilling effect on British democracy and our right to speak up on issues that matter to us."

Greenpeace

"The most pernicious assault on campaign groups in living memory."

TUC general secretary Frances O'Grady

"It's an open secret at Westminster that this rushed Bill has nothing to do with cleaning up lobbying or getting big money out of politics. Instead it is a crude and politically partisan attack on trade unions, particularly those who affiliate to the Labour Party.

"But it has been drawn so widely that its chilling effect will be to shut down dissent for the year before an election. No organisation that criticises a government policy will be able to overdraw their limited ration of dissent without fearing a visit from the police.

"Of course not everyone agrees with TUC views and policies, but I expect there to be wide revulsion at this attack on free speech worthy of an authoritarian dictatorship. This will not just gag unions, but any group or organisation that disagrees with government - or opposition - policies."

The British Medical Association

"The new rules are complicated and will create uncertainty for organisations trying to comply. Worryingly, there are fears the Bill could affect the ability of organisations to speak out. Given all the recent reviews that have taken place in the NHS about patient safety, it would be very regressive if organisations were unable speak out about poor care in the run-up to an election.

"Needless to say, if the Bill is passed, its impact could be deeply disturbing, especially as it raises concerns about what this would mean for freedom of expression — and it is hard to see how that would benefit democracy."

Helen Mountfield QC, Matrix legal chambers 

"This uncertainty about what the law requires is likely to have a chilling effect on freedom of expression, by putting small organisations and their trustees/directors in fear of criminal penalty if they speak out on matters of public interest and concern."

National Council for Voluntary Organisations

"At the moment you have to intend to influence an election to be in trouble. But the wording is being changed to ‘if you have the effect’ of influencing an election. What is really dangerous about this is that you may not intend to influence the outcome of a local election — yet the punishment is you could go to prison. We think this legislation will make people frightened of speaking out."

The Electoral Commission

"The Bill both widens the scope of the current rules on non-party campaigning that affects parties and groups of candidates, and imposes some additional controls on such campaigning. In our view, as drafted, the Bill raises some significant issues of workability that you may wish to explore at Second Reading.

Areas that you may wish to focus on in particular include that:

• the Bill creates significant regulatory uncertainty for large and small organisations that campaign on, or even discuss, public policy issues in the year before the next general election, and imposes significant new burdens on such organisations 

• the Bill effectively gives the Electoral Commission a wide discretion to interpret what activity will be regulated as political campaigning. It is likely that some of our readings of the law will be contentious and challenged, creating more uncertainty for those affected. While we as the independent regulator should be free to decide when the rules have been broken, and how to deal with breaches of the rules, we do not think it is appropriate for us to have a wide discretion over what activity is covered by the rules

• some of the new controls in the Bill may in practice be impossible to enforce, and it is important that Parliament considers what the changes will achieve in reality, and balances this against the new burdens imposed by the Bill on campaigners."

David Cameron with Leader of the House of Commons Andrew Lansley, who is piloting the lobbying bill through parliament. Photograph: Getty Images.

George Eaton is political editor of the New Statesman.

Photo:Getty
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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.