Equal Opportunities Policy


Statement of Policy

Orange Girl Productions Ltd recognises that it is essential to provide equal opportunities to all persons without discrimination. This policy sets out the company’s position on equal opportunity in all aspects of its business, which is to present inclusive and innovative theatrical productions in an accessible way.

Employment (General)

It is the policy of Orange Girl Productions Ltd to ensure that no freelance contractor or employee receives less favourable treatment on the grounds of gender, race, marital status, disability, age, part-time or fixed term contract status, sexual orientation or religion, or is disadvantaged by conditions or requirements that cannot be shown to be justifiable. The Company is committed not only to its legal obligations, but also to the positive promotion of equality of opportunity in all aspects of employment. The Company recognises the positive impact of a diverse workforce with different backgrounds, solely employed on ability. Any complaint on the grounds of discrimination will be treated with the utmost gravity, and with adherence to equality law.

Employment (Actors)

The Company notes that its Mission Statement (above) promotes a type of positive discrimination, in order to attempt to redress existing discrimination in theatrical employment and presentation. Notwithstanding this, where an actor’s age, gender, accent, and/or appearance must legitimately be taken into consideration for an acting role, the Company is committed to being as open-minded as possible with regard to the casting possibilities. To this end, the Company undertakes to adhere to Equity’s inclusive casting guidelines as far as possible. This commitment comprises the genuine consideration of the following:

  • Incidental casting: To cast more diversely where the identity of the actor is incidental to the character.

  • Greater authenticity where diversity is relevant to the role: To consider casting disabled actors as disabled characters.

  • Legal Compliance and best practice: To keep up to date with equality law, and with current best practice in the industry. To ask “Why not?” rather than “Why” when exploring diversity in casting.

  • Production choices: To regularly weigh up the balance of diversity of character and actor presented in the Company’s recent and overall body of work. To consider ways to push the boundaries in the choices of playwright and theatrical production, insofar as is possible within the Company’s financial means and Company Mission.

Audience Access

Audience Access

Orange Girl Productions Ltd is committed to improving accessibility to the arts by providing, as far as possible, an accessible theatrical experience for our audiences, as well as to evolving the ‘aesthetics of access’ (as defined by Graeae Theatre Company) where this is feasible. We intend to achieve this going forward by:

  • Where possible, presenting our work at accessible theatre venues with wheelchair access to the theatre building, the auditorium, and toilet and bar facilities, and who hold their own Access Policy and Procedures.

  • Making our venues’ access facilities clear in a dedicated section on our website.

  • Where finances allow, liaising with dedicated consultants and/or Access organisations to improve our access facilities, including exploring new and innovative ways to merge communication methods such as BSL, captioning, and audio description, into performances in an organic and artistic manner.

  • Making relevant local communities aware of any assisted performances, through direct contact, and through publication in directories such as ‘Access Scottish Theatre’, ‘Euan’s Guide’, etc.

  • Applying for theatre access awards, particularly during the Fringe (such as the ‘Euan’s Guide Fringe Award’), in order to increase perception of access measures being commonplace and artistic, both amongst audience members and fellow theatre-makers. Any prize funds attached to any award would be utilised to increase our access provision for future productions, and/or granted to another Fringe production to allow them to experiment with accessible communication for the first time, in a “Pay it Forward” manner.

  • Maintaining sensitivity to the artistic values and needs of the production in considering our choice of access provision – e.g. whether captioning is more suited to a particular text than signing, or vice versa.

  • Where funding is not readily available for this experimentation and provision, to research and apply for any suitable sources of additional funding ring-fenced for improving access to the arts.