Brexit Barriers Restrict UK Actors’ Access to EU Work
Since Brexit, British actors face significant obstacles securing work in the EU due to increased paperwork, visa restrictions, and additional costs. These challenges have led to a shift in casting towards EU talent, limiting opportunities for UK performers.
Mainland Europe has historically served as a vital platform for creative professionals, offering early career credits in TV, film, and theatre, as well as income to support ambitions in the UK or US markets.
The impact of Brexit on European touring has been widely reported for musicians. For example, in February, singer Kate Nash revealed she launched an OnlyFans account to offset a £26,000 loss from her last European tour caused by increased expenses.
However, the effects on actors and performers working in film, TV, cruise ships, theatre tours, and commercials have received less attention.
“Brexit has placed British performers in a cultural cul-de-sac,”
said Matt Hood, managing director of Spotlight, the casting directors’ directory featuring thousands of UK performers.“What is clear is that the UK has amazing talent, and the opportunity to export that talent has diminished considerably post Brexit.”
According to the Office for National Statistics, performing arts exports to the EU declined from £1.15bn in 2016 to £929m in 2023. In contrast, creative industry exports to non-EU countries increased by 18% during the same period, from £1.57bn to £1.87bn.
New post-Brexit barriers include visa rules limiting work to 90 days within any 180-day period, which counts European holidays, and complex customs, tax, and administrative requirements that vary by country and can be costly and time-consuming.
The performers’ union Equity highlighted cases where members were taxed on accommodation costs classified as “benefits in kind,” significantly reducing net wages.
Spotlight noted that UK performers must pay social security contributions in the country where they work, ranging from 12% to 22% of their pay. Although reclaimable, this process can take months and often requires accountants to pursue refunds.
The National Theatre and White Horse Theatre, Europe’s largest educational touring company providing English-language performances across Europe for nearly 50 years, reported last year that touring had become increasingly difficult.
In evidence submitted to the culture select committee investigating Brexit’s impact on performers working in the EU, Spotlight stated that TV commercial jobs for UK actors have become scarce.
For decades, mainland Europe has been commercially fruitful for British actors, featuring in notable advertisements such as the Two Ronnies’ Paris trip with Hertz in the 1980s and the Dolce & Gabbana campaign last year.
While star performers still experience streamlined processes, many working actors find themselves excluded from casting lists.
Previously, adverts filmed abroad, like the long-running “Get away!” campaign for the now-defunct Lunn Poly holiday company, provided regular work for UK actors. Spotlight’s evidence indicates that some holiday companies no longer audition UK-only passport holders for adverts filmed within the EU.
The challenges extend beyond performers to crew members. One casting director noted that a pre-Brexit TV campaign employed 45 UK-based crew, whereas similar current campaigns are cast from Spain or other EU countries due to paperwork and tight shooting schedules.
Post-Brexit, casting UK performers for EU jobs has become more difficult than casting for Australia, according to one casting director.
Agents now encourage actors to explore dual citizenship options, such as Irish passports, while some EU-based businesses reportedly blacklist UK-only passport holders.
More concerning are reports of UK performers being advised to work illegally by entering on holiday visas and not obtaining proper work permits when paperwork cannot be completed in time.
Spotlight described this as a “ticking timebomb” that risks sanctions including deportation and blacklisting for performers and agents involved.
Jonathan Shalit, founder of InterTalent Rights Group, representing clients like Joan Collins and Ross Kemp, stated:
“Many opportunities come fairly late in the day, and it is very hard to turn these things around quickly. It doesn’t happen with your leading players, but absolutely, I have seen people suggest coming on the wrong visa, and ‘only put your client forward if they have a European passport.’”
Impact on Young and Working-Class Performers
The loss of EU work opportunities has disproportionately affected young UK performers, especially those from working-class backgrounds.
Previously, students and recent graduates often secured summer contracts for theme parks, tours, and cruises across Europe, which are now largely inaccessible due to visa restrictions.
Spotlight reports a significant decline in working-class actors obtaining EU jobs. Unlike wealthier actors who can afford visa fees and delays in payment, those from less affluent backgrounds cannot sustain the financial burden of EU work.
Jonathan Shalit summarized the situation:
“The simple answer is Brexit has been catastrophic for the creative industries. We as a country made the decision to leave Europe. This is self-inflicted. Europe don’t really want us unless they have to.”
