Earlier this month, the UK and EU announced a "Common Understanding" at their first post-Brexit summit in London, aiming to rebuild cooperation in trade, mobility, and cultural exchange. For arts freelancers, this agreement offers a faint hope of progress but leaves critical issues, like work permits and the 90/180-day Schengen visa limit, unresolved.
The agreement briefly recognises the value of cultural and artistic exchanges, including touring artists, and commits to supporting these activities. It mentions ongoing talks for a Youth Experience Scheme, which could simplify work or study in the EU for freelancers under 30, though details on visa pathways remain unclear. Future discussions may also address mutual recognition of professional qualifications, potentially easing access to EU markets for freelancers like stage managers or sound technicians, but no timeline has been set. While this aligns with Labour’s pledge to support touring artists, the lack of concrete measures leaves freelancers facing the same post-Brexit barriers.
Work permits remain the biggest hurdle, with freelancers often spending £600 or more on visas for short EU gigs and navigating lengthy, complex application processes that can derail bookings. The 90/180-day Schengen visa limit further restricts freelancers to just 90 visa-free days in the EU every 180 days, often making sustained work like multi-country tours highly problematic.
Equipment movement, such as transporting instruments or set pieces, also faces customs delays and fees, and we’ve heard of freelancers having their gear confiscated due to strict rules. Major arts organisations, including the Royal Shakespeare Company and English National Ballet, have warned that these barriers threaten jobs and businesses. The summit’s vague commitments fail to address these pressing concerns directly.
BECTU released a statement welcoming the reset of UK-EU relations but stressed the need for urgent action, stating, “We need urgent action to secure visa-free touring for our members and a youth mobility scheme to give young creative workers a chance to build their careers in Europe. This is critical to ensuring the creative industries can continue to thrive and contribute to the UK’s global influence” (bectu.org.uk).
In The Stage, Equity’s general secretary, Paul W. Fleming, called the agreement’s mention of cultural exchanges positive but insufficient, noting, “A cursory mention on what should be a priority item for the government feels positive but is not a success. This is about more than ‘cultural exchanges’, it is the paid work of thousands of creative workers and the health of a growth-driving sector” (The Stage, May 20, 2025).
Naomi Pohl of the Musicians’ Union described it as a step forward but urged equal focus on music’s economic contributions, saying, “We are unsurprised by the focus on fishing in the negotiations and news reports, for example, but music is a significant contributor to the economy and needs equal attention” (The Stage, May 20, 2025). SOLT and UK Theatre’s co-chief executive Claire Walker praised the recognition of cultural exchange but highlighted ongoing burdens like visas and red tape, urging both sides to enable seamless touring (SOLT/UK Theatre Statement).
For now, as freelancers, we face unchanged challenges, with work permits, the 90/180-day visa limit, and equipment restrictions making EU work costly and complex. The proposed youth scheme and qualification talks offer potential for early-career or specialised freelancers, but their success depends on future negotiations.
Freelancers Make Theatre Work is actively monitoring these developments and meeting regularly with the Department for Culture, Media and Sport to push for clear, practical solutions, like visa waivers and simplified permits, to support your work.
