Inside Arts

Scots film industry needs to address lack of women’s roles, says Brian Ferguson

Is there a good time to instigate a debate on why women do not seem to get nearly as many leading roles in Scottish film and television as men?

Judging by the response to a tweet by actor Andrew Rothney at the weekend, lockdown is as good a time as any.

The lengthy shutdown of the screen sector across the UK over the last three months has perhaps been a double-edge sword which has brought long-simmering issues into sharp focus. Repeat viewings of drama series and films on the BBC iplayer and streaming services have maybe been a reminder that Scottish actresses have not been well-served in their own country.

Rothney, who starred opposite Kelly Macdonald in last year’s gripping TV drama The Victim, tweeted: “I’d like to see Scottish actresses given the same opportunities as their male peers. I’d like to see them leading Scottish TV and film. I’d like them to be taken seriously. Because they are excellent and aren’t visible.

“Make this known. This is not about pitting actors against actors. We all have the right to work and to opportunities. But Scots women are being left behind, overlooked and are unfavoured for leading roles in the industry and that needs to be addressed.”

Almost immediately, actresses were coming forward in their droves with their tales of rejection and frustration.

Consistent themes included actresses having to leave Scotland to try to secure major roles, actresses from outwith Scotland being cast in lead roles when they are created and the fact that the major commissioners and writers happen to be men.

The debate was given more traction after Greg Mchugh, actor and creator of Gary: Tank Commander, said it was a “national and cultural disgrace” that there had never been a female-led comedy series made in Scotland.

He added: “Where is the ‘Derry Girls’ of Scotland? Where is the ‘Fleabag’ of Scotland? Where is the Ozark? The funniest **** ing nation in the world and we don’t reflect it... WHY?”

Among the many intriguing responses was one from Janey Godley claiming she was sidelined from a TV stand-up show made in Glasgow at the expense of male comics because she was considered “too rough” to go out on air.

It would be wrong to suggest there have been no signs of progress, given the huge ratings for The Victim, which saw Kelly Macdonald win a Scottish Bafta, and The Nest, which introduced rising star Mirren Mack to TV viewers.

And, of course, these issues are not just confined to Scotland, or to its TV and film sectors. A new organisation was set up just over a year ago to try to ensure a level playing field across the Scottish music industry, which has been dogged by complaints about male-dominated festival line-ups at the highest level.

Actors and comics seem to be not only increasingly aware of a serious imblance in their industries but are prepared to speak out about it.

It seems essential that a similar lobby group to the music industry one is set up to instigate serious discussions and the broadcasters and funders on what can be done to tackle it.

In the meantime, it is up to both new and established writers to push as hard as they can for the mould to be broken once and for all.

With the TV and film industries in lockdown, the opportunity is there for a total reset of priorities and clear statements of intent.