A route-map to Labour’s revolution in apprenticeships

Britain faces a stark choice: a race to the bottom in skills and wages or a race for the top in the demanding 21st century economy.

Fifty years ago, only 20% of young people left school with any qualifications at all.  Now the figure is 90%. Forty years ago, less than 8% of young people went on to university. Now the figure is nearer 50%. These are great, progressive achievements. But the success we have won for some young people should not blind us to the continuing challenges of others.

A year ago the Labour leader Ed Miliband highlighted the plight of the "forgotten 50%" of young people who do not go to university. He set up a Skills Taskforce, of which I am the independent chair, to suggest practical, deliverable solutions for these young people. Last month, in the first of three final reports, the Taskforce called on Labour to embark on a national mission to double the number of high quality apprenticeships.

Less than one in 10 employers offer apprenticeships in England, compared to three or four times that number in our main European competitors. And while the UK has are some exceptional apprenticeships – such as those at Rolls Royce, Siemens, Heathrow Airport and Transport for London – much of the recent increase has been in apprenticeships that would not be recognised in these countries. Apprenticeships should be a high quality training route into work for young people, but a shocking 70% of apprentices are existing employees, up from 48% in 2007, and 94% of these apprentices are over 25 years old. A fifth of apprenticeships last for less than six months and 20% of all apprentices report receiving no training at all.

This is bad for business and for the economy. Many employers say they cannot get the skills they need to succeed and in some sectors the lack of training has led to severe skills shortages. Most importantly, the lack of good training and work opportunities caps aspiration and prevents young people from fulfilling their potential.

The Skills Taskforce makes a simple proposition: it offers employers a 'something-for-something' deal.  Employers should be given more control over skills funding and standards, and in return should be asked to create more high quality apprenticeships in their sectors and supply chains.

Nearly half of employers say that the prospect of trained staff being poached by rival firms deters them from training employees. So the Taskforce also recommends asking business what powers they need to ensure they can deliver the expansion in apprenticeships we need to rebuild the economy, such as the power to introduce levies or training requirements. It should then be up to employers, working with other stakeholders at sector level, which of these powers they will use. The public sector can and should take a lead, through both its own provision – the current provision of apprenticeships in the public sector is unacceptable – and driving behaviour through procurement.

If this sounds ambitious, it should. If it sounds impossible: it is not. Continental systems, including the German and Austrian education and training systems, already do it. The challenges are not ones of principle, but of will, and the prize is considerable.

At the Labour Party conference, Ed Miliband took on the challenge to double the number of high quality apprenticeships and said he would give employers the power to call time on free-riding by competitors who do not train. Labour also committed to our recommendations to ensure that apprenticeships are gold standard qualifications that employers and young people can trust: Level 3 or above and lasting at least two years. 

This is a good start to a major transformational task. Britain faces a stark choice: a race to the bottom in skills and wages or a race for the top in the demanding 21st century economy. Britain must not join the race to the bottom. Our goal is to transform the opportunities available to young people through efforts to develop a high skill, high productivity economy.

Chris Husbands is the director of the Institute for Education and chair of Labour’s Skills Taskforce.

Ed Miliband speaks at the Labour conference in Brighton last month. Photograph: Getty Images.
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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.