Disability cuts: the big picture is terrifying

Individual benefit changes seem minor, says the head of Scope. But taken together, they present a worrying vision of life for disabled people in Britain.

Disability is set to explode into one of the political issues of 2013. It’s just a case of joining the dots.

This week alone has seen six parliamentary events in four days, each with disability at its heart. It kicked off with the vote on the Benefits Uprating Bill, which, contrary to the Government’s line, doesn’t protect disabled people

Also on Monday, the Minister for Disabled People, Esther McVey, was grilled on changes to Disability Living Allowance (DLA) by the Work and Pensions Select Committee. DLA was then the subject of a Westminster Hall debate on Tuesday, while Lord Freud was put on the spot on the issue in the Lords on Thursday.

This week Lords also raised questions on social care, which we now know is very much a disability issue. While on Wednesday another Westminster Hall debate tackled disability, this time housing benefits and disabled people. 

Amid the hurly-burly of politics, each debate, meeting or question can fly under the radar. But take a step back and they reveal a bigger story than the individual impact of one or other change. Disabled people rely on a house of cards of support and it’s about to come tumbling down. 

Here’s a taste of what it’s like to be disabled in 2013.

If you need help with basics such as getting up, getting dressed, getting fed and getting out, in theory you are entitled to support from your council. But there’s a £1.2bn black hole in funding. As a result 40 per cent of disabled people say their social care doesn’t meet these needs – and the Government’s plans for social care reform, due to be published in spring, will see 100,000 people stop being eligible. 

Once you’ve got help to get up and out, you have to contend with the fact that life costs an awful lot more if you’re disabled. Disability Living Allowance – administered nationally and non-means tested – is designed to address this. It might pay for a taxi to work where there is no accessible transport. The Government is turning DLA into Personal Independence Payment, bringing in a new assessment from April. Worryingly for disabled people, before a single person has been assessed the Government is expecting more than half a million people to lose the payment.

Then if you are disabled and also happen to be one of the country’s 2.49m people out of work, you are entitled to some basic income support and help to find a job. Before you can access either you have to go through the Work Capability Assessment. Given the high levels of successful appeals, and the horror stories of people inappropriately found fit to work, disabled people are very anxious about taking this test.

If you do end up on the right level of support, you can look forward to below-inflation increases (according to Labour 3.4m disabled households will be worse off) and possibly a place on the Work Programme, which has so far struggled to help disabled people find work.

Much like this week’s debates, questions and committees, each of these moves can feel niche, technical, even justifiable on its own. But it’s only when you look at them together that you get a feeling for what it’s like to be disabled right now.

It’s time we started looking at the big picture. Cuts to DLA can’t be discussed without talking about the future of social care. Indeed, I spoke to a visually impaired man from the Midlands whose council tried to justify rationing his social care by telling him to top it up with DLA.

The ministers say: don’t be scared. The Government says it has to save money. But this goes beyond saving money. This is about the kind of society we want to live in. This is Britain in 2013. This is about drawing a line in the sand.

Do we want to live in a country where we shut disabled people away? Do we want to live in one where a disabled person is asked if they really need to have a wash every day? 

Or do we want to live in one in which we are willing to invest in making sure disabled people can get involved in everyday life?

I know what I want.

But what about politicians?  It’s hard to say. I’m waiting for someone – of either party – to come out and say ‘Some people need benefits. It doesn’t make them a scrounger, it doesn’t make them workshy and it doesn’t make them feckless.’

Instead we are fed ‘strivers not skivers’ or ‘training not claiming’. It is time both parties stopped benefits bashing. We spend more on disability benefits than US, France, Italy, Germany and Spain. We should be proud of that. Benefits mean disabled people can do things in day-to-day life that everyone else takes for granted.

Ultimately politicians think they are on safe ground with this one. But here’s one last stat: according to the British Social Attitudes survey, 84 per cent of people would like the state to support them if they became disabled. The public know what kind of society they want to live in too.

Richard Hawkes is chief executive of the disability charity Scope

An amputee learns to walk. Photo: Getty

Richard Hawkes is chief executive of the disability charity Scope.

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.