Last August, British airport security agencies announced a ban on boarding with musical instruments on scheduled commercial aircraft departing the U.K. for abroad, a restriction that applied as well to tours that stop or lay over in a U.K. airport and then move on to other ports of call. The move drew instant complaints and, proving that musicians — even drummers — can organize themselves when properly motivated, a groundswell of protest that ultimately got the restrictions eased…somewhat. Get ready for the same thing, only on a much wider scale. The Arts & Entertainment Task Force, a study group within the U.K. Home Office (a kind of State Department and Department of the Interior rolled into one), has recommended sweeping changes to the current work visa regulations that not only cover artists and performers visiting the U.K., but the technical crews that accompany them as well.
According to preliminary reports, the major changes are that the work visa application and approval process will shift from being processed in the U.K. to one of the six U.K. consulates in the U.S. Applicants will have to apply in person because the new rules will require that consulate personnel take biometric data from the applicant directly. (Digital fingerprinting is all that’s been specified so far.) Application and processing costs are also scheduled to increase significantly: costs are now £153 (just under $300 at current rates) for a work permit that covers as many people as are in the tour party, from divas to grips; the new rules would likely increase that amount and apply it individually to each member of the crew. Furthermore, tour promoters, who historically bear the costs of work visas for tours they bring over, will likely face certification and registration fees that may apply on an annual basis, or even on a per-tour basis.
The costs could make touring the U.K. and Europe prohibitive for promoters and touring shows alike. As one of the few Internet references that has addressed the issue so far (recordoftheday. com) estimates, a 20-person crew would cost the promoter or show £3,060 — nearly $6,000 — even if the current work visa rates are left as they are. This would be on top of the costs associated with getting every crew member to a consulate location and paying for flights, hotels and meals in addition to the visas.
In the grand scheme of things, even this would not necessarily be a stratospheric figure. But to quote the late Senator Everett Dirksen of Illinois, “A million here, a million there — soon we’re talking real money!” The problem is that these increased costs are less of a burden to large corporations than they would be to the scores of smaller and mid-sized shows and tours that increasingly make up the bulk of the touring population for music and theatrical performances. How often does Madonna tour backed by Bank of America? Notice how many Broadway road versions keep their Visa and American Express sponsorships when they go to the West End? One possible outcome of these kinds of changes in U.K. work visa requirements is that, at a time when independent productions have gained significant leverage, thanks to the Internet, the advantage is handed back to corporately sponsored tour programs. And that has the same effect that has drawn complaints to the FCC about allowing expanded media ownerships by large corporations: fewer and bigger entities, ever mindful of their public image, determine what gets seen by audiences.
The effects of exponentially increased visa costs are not hard to imagine. Fewer artists could afford the new fees, reducing the talent pool and making those who can even less competitive; fewer shows for venues means lower ticket and consumables revenues; fewer shows means less revenue to ancillary providers, such as lighting equipment and transportation; and ultimately, less tax revenue collected by Her Majesty’s government.
The specifics of the work visa policy changes have not yet been announced; the Home Office had planned to make some details available for inspection — but not necessarily debate — in January 2007. While no firm date for implementation has been set, estimates are that the agency may hold off until January 2008. In any event, the disparate domains from LDs to sound mixers can find a common cause here. Get the word out on blogs; send an e-mail to chargingconsultation@ homeoffice.gsi.gov.uk, which may be a bureaucratic black hole or not. But proactivity is a key strategy. If they can back off on oboes, they’ll likely listen to a lot of people with millions of LEDs.
Contact Dan at ddaley@plsn.com.
