A general view over Tower Bridge and the River Thames from the reception of the Shangri-La Hotel at the Shard in London. Photograph: Getty Images.
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Of course there is a north-south divide – and of course it matters

The claim that the only divide that matters is between the rich and the poor ignores the unequal distribution of political power. 

Writing in the Guardian on Monday, Owen Jones attacked the idea that English politics is split along north-south lines as a "myth" and a "distraction". Given rates of poverty and inequality in the south of England are as high as they are in the north (higher, in some cases), "how much really divides the call centre worker in Hull [from] the supermarket shelf-stacker in Chelmsford?", Jones asked.

It’s a legitimate point, and one familiar to anyone involved in the debate over Scottish independence. One of the clichés of Scottish unionism - particularly Scottish Labour unionism - is that a worker on minimum wage in Dundee has more in common with another minimum wage worker in Manchester than he or she does with a top-rate tax-payer in Edinburgh.

The premise of this argument - that working people across Britain share a basic set of interests - is sound. But the conclusion Jones and others tend to reach for - that "soft" constitutional issues are irrelevant when set against "hard" political and economic ones - isn’t. There seems to me to be a fairly obvious relationship between the structure of the British state (sclerotic and heavily centralised) and the structure of the British economy (sclerotic and heavily centralised).

To begin with, a wealth of evidence confirms that London and the south east benefit disproportionately from the spending decisions of the UK government.

Last year, analysis by IPPR North showed that the coalition’s planned 2015/16 departmental cuts would reduce public expenditure by £57 per person in the north east of England compared to £43 per person in London and £39 per person in the south east. (It stands to reason that areas with high levels of public sector employment will suffer more from austerity than areas with lower levels of public sector employment.) IPPR North has also warned that UK transport expenditure is dangerously skewed in London’s favour. In 2011, it found that upward of 80 per cent of all planned transport spending was earmarked for projects in the capital and its surrounding areas. In addition, London gets an excessively large slice of UK arts and culture funding - 15 times more than other English regions, according to one recent estimate.

Westminster’s obsession with London reflects the broader trajectory of UK economic policy over the last 35 years. Since the 1980s, efforts by successive UK governments to control inflation and protect the value of the pound have squeezed British manufacturing, the bulk of which is (or was) located in northern England and Scotland, at the same time as boosting London-based financial services. In 1998, Eddie George, Mervyn King’s predecessor as Governor of the Bank of England, basically admitted as much when he said job losses in the north were a "price worth paying" for curbing inflation in the south.

The consequences of this financialised, London-led growth strategy are plain to see: with just 13 per cent of the UK’s population, London now accounts for almost a quarter (22.4 per cent) of the UK’s total economic output  - more than the north west (9.4 per cent), Yorkshire and Humber (6.7 per cent) and the north east (3 per cent) combined. Despite the financial crisis, there is no sign of this trend changing anytime soon. As the Guardian’s economics editor, Larry Elliot, has written: "In the three years from 2010 to 2012 - a period marked by weak growth and austerity - London accounted for 10 times as many private sector jobs as any other [British] city."

Jones acknowledges that the UK economy is imbalanced but then fails to connect the dots. Like Scotland, Wales and Northern Ireland (more so, in fact), the English regions are powerless to pursue any economic strategy that deviates from the turbo-charged, free-market model championed by Westminster. But by devolving power away from London, other parts of the UK could begin to tackle the disparities created by the uneven distribution of British growth.

More to the point, the disproportionate attention the south receives from British policy-makers is one of the driving forces behind the UK’s present constitutional crisis. I doubt there would be the same appetite for independence among low-income Scots if the UK economy still looked capable of providing decent, secure, properly paid jobs for Scottish workers.

Jones is, of course, right to say the real dividing line in British politics is between "those who have wealth and power, and those who do not". I think everyone’s pretty much agreed on that. But it’s hardly a coincidence that so much of Britain’s wealth and power is concentrated in one place. 

James Maxwell is a Scottish political journalist. He is based between Scotland and London.

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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.