Why Peer Productions Focuses exclusively on Young People: A longer read by Artistic Director Nina Lemon
As the Artistic Director of Peer Productions, I've noticed in recent years an increasing number of comments and criticisms online about our focus specifically on young people. Many people feel frustrated and want to know why we are not supporting those adults who are over 24 years old and want to be actors too.
I get it. In the current economic situation, there are so many different people who feel excluded from the Arts. Constant courses and opportunities for emerging (and by emerging usually read young) artists, actors, directors, playwrights, etc are a problem in our industry and make it extremely difficult for older people to make a career change. Our industry is undoubtedly poorer because of this.
However, Peer Productions was specifically set up as a youth charity. This is because I could see a specific gap in access, particularly for young people from poorer backgrounds, and I had come up with a model which I thought might bridge this gap. We are specialists in the field of youth arts.
Let me break it down for you.
Our programme includes practical work experience in which our young actors work as actors and peer educators, delivering plays and workshops in schools and other settings. Seeing actors very close to the audiences own ages on the stage exploring issues which really matter to young people has a profoundly positive effect. Peer education is our unique selling point and it is this idea that schools continue to buy into.
Everyone deserves to access the performing arts industry, but not everyone’s needs are the same. If we were to support everyone, we may find that we are less effective at supporting anyone.
Our team are all specialists at providing training and making theatre with for and by young people.
Getting funding to sustain an organisation like Peer is an ongoing battle. We have to think carefully and strategically about how to raise the money. Pretty much all funding bids require you make a specific argument for specifically ring fenced funds and your argument must compete with other very worthy organisations.
Registered charities in the UK have to specify their charitable articles and their trustees are responsible for ensuring the charity doesn’t drift outside of their articles and that their mission remains clear. Peer articles are specifically in the areas of young people, education and arts.
Grant giving charities have specific agendas. At Peer Productions, we try to match our specialism with grant giving charities whose priorities are matched with ours. This is because grant giving charities have specific agendas which they fund. The same is fundamentally true of all available funding, so we are always looking for the model which will be most sustainable and will help the most people.
For example, we have been keen to develop a training program for young actors with learning disabilities for years. Two years ago, we moved into designated premises, which made it much more possible for us to achieve this ambition. When we researched the prospect, we discovered that our most viable funding model would involve local authorities supporting young learning disabled artists to access an education programme. In the UK, young people with learning disabilities can, in many cases, continue to receive funding for education from their local authority passed standard statutory education age and up until the age of 25. We are able to tap into this funding by making a case for each individual, young disabled learner, and it is this local authority funding which is the most stable and that allows us to continue the programme.
However, we have received some hefty criticism from families with older learning disabled adult children who are frustrated that there are not more opportunities for learning disabled people over the age of 25. As a parent of learning disabled children myself, I too am often frustrated that there are not more opportunities for them which match their specific needs. However, the problem does not lie with small charities who are doing their best to provide opportunities. The problem is far bigger than this.
Grassroots charities like Peer Productions are forced to work within the infrastructures available. If you think educational funding or some other kind of funding should be available for all learning disabled adults (which I think is an argument with lots of merit) then complain to your MP, start a petition, protest on the streets. Let us know and we will sign and March with you.. Equally, if you are frustrated by the lack of opportunities for older artists, target Arts Council England, write to Lucy Frazer KC MP, Secretary of State for Culture, Media and Sport or approach larger National Portfolio Organisations like the National Theatre whose remit is far broader.
In conclusion, while we understand the frustration of those who feel excluded from the Arts, Peer Productions can only operate within the infrastructure which exists. We remain committed to our mission of providing opportunities for young people in the performing arts and will continue to work towards this goal.
