Since Brexit, British actors looking for work in the EU have faced a flood of extra costs and red tape—from being blacklisted as UK passport holders to being asked to work illegally while on holiday. These barriers are limiting their opportunities.
Mainland Europe has long been a launchpad for people in the creative industries. It helps them land their first credits on TV, film, or theatre productions, build a strong résumé, and earn a living while trying to make it big in the UK or US.
The impact of Brexit on musicians touring Europe has been widely reported. In February, singer Kate Nash said she had to start an OnlyFans account to “sell pictures of my bum” to cover a £26,000 loss from her last European tour, caused by extra costs.
But there’s been little attention on how leaving the EU has affected actors and performers in film, TV, cruise ships, theatre tours, or commercials.
“Brexit has put British performers in a cultural dead end,” said Matt Hood, managing director of Spotlight, the casting directors’ bible that lists thousands of profiles for both up-and-coming and famous UK performers. “What’s clear is that the UK has amazing talent, but the chance to export that talent has dropped significantly since Brexit.”
Between 2016 and 2023, performing arts exports to the EU fell from £1.15 billion to £929 million, according to the Office for National Statistics. In contrast, creative industry exports to non-EU countries rose by 18% over the same period, from £1.57 billion to £1.87 billion.
Since Brexit, new hurdles have hit performers hard. Visa rules only allow work for 90 out of every 180 days, including any holiday time in Europe. There are also countless customs, tax, and other documents that take a huge amount of time and money to process, and the rules vary by country.
The performers’ union Equity gave one common example: a member was taxed on their accommodation costs because it was classed as a “benefit in kind,” which significantly cut their net pay.
Spotlight noted that UK performers have social security costs deducted in the country where they work—anywhere from 12% to 22% of their pay. They can reclaim this money, but the process can take months and often requires hiring accountants to chase it.
The National Theatre stopped touring mainland Europe in 2021. And White Horse Theatre, Europe’s largest educational touring company, which has performed English-language shows in schools and theatres across Europe for nearly 50 years, said last year that Brexit threatened its future.
In evidence to a culture select committee investigation on how Brexit affects performers going to the EU, Spotlight said that jobs in TV commercials are now “almost completely unavailable to UK performers.”
For decades, mainland Europe has been a profitable market for British actors, providing the setting for famous ads. Examples include the Two Ronnies’ comically contrasting trip to Paris with Hertz in the 1980s, and last year’s Dolce & Gabbana fragrance campaign shot in Italy, starring Theo James from The White Lotus.
But while big-name stars still have a smooth experience, it’s working actors who often find themselves left out of roles.
One former steady source of work was adverts filmed abroad, like the long-running “Get away!” campaign for Lunn Poly, the now-defunct package holiday pioneer. Those ads featured British tourists filmed in places like the Balearic Islands.
In its written evidence, based on members’ experiences, Spotlight said it is “aware of named holiday companies that no longer audition UK-only passport holders” for roles.The same issue applies to performers and the many other crew members involved. One casting director explained that before Brexit, a single TV campaign would hire 45 people based in the UK, but now similar campaigns are being cast from Spain or another EU country. The paperwork and the fast-paced nature of filming have made it simply easier to skip auditioning UK talent altogether.
Another casting director noted that since Brexit, it’s actually become easier to cast UK performers for jobs in Australia than in the EU. Agents are now encouraging actors to check their family background to see if they qualify for dual citizenship—an Irish passport, for example. Meanwhile, some EU-based companies actively refuse to hire performers who only hold a UK passport.
But the most worrying trend, according to anecdotal evidence, is UK performers being told to skip getting a proper work visa if the paperwork can’t be completed in time, and instead lie and work while claiming to be on holiday.
Jonathan Shalit, founder of InterTalent Rights Group, whose clients include Joan Collins and Ross Kemp, said: “Many opportunities come up quite late, and it’s very hard to arrange everything quickly. It doesn’t happen with top stars, but yes, I’ve seen people suggest coming on the wrong visa, and say, ‘Only put your client forward if they have a European passport.'”
Spotlight calls this practice a “ticking time bomb” that could lead to sanctions for performers and agents caught using this route to get work. The agency warned this could include “deportation and potential blacklisting” from future opportunities.
It’s young UK performers, especially those from working-class backgrounds, who have been hit hardest by losing access to the EU for work and experience. Students and recent graduates used to get summer contracts at theme parks, tours, and cruises, but these are now largely closed off after Brexit due to changes like visa requirements.
According to Spotlight, casting directors have noticed a significant drop in working-class actors, in particular, landing jobs in the EU. Unlike actors from wealthier backgrounds who can afford visa costs and sometimes wait months for payment from work in mainland Europe, they simply can’t afford to take a job in the EU.
“The simple answer is that Brexit has been catastrophic for the creative industries,” Shalit says. “As a country, we decided to leave Europe. This is self-inflicted. Europe doesn’t really want us unless they have to.”
Frequently Asked Questions
Here is a list of FAQs about the impact of Brexit barriers on UK actors in the EU written in a natural tone with clear answers
BeginnerLevel Questions
1 What does catastrophic for creative industries mean in this context
It means that since Brexit UK actors face huge hurdles to work in EU countries This has severely damaged their careers and the UKs creative sector costing jobs and money
2 Why cant UK actors just go to France or Germany for a film job like they used to
Before Brexit UK citizens had freedom of movement Now they need a work visa or permit for every EU country plus proof of a job offer which is expensive and timeconsuming
3 Is this only about actors or does it affect other creative workers too
It affects all creative professionals directors musicians dancers crew members makeup artists and even technicians Anyone needing to work in the EU faces the same barriers
4 Whats a work permit and why is it a problem
A work permit is official permission from a foreign government to work there The problem is it costs hundreds of pounds takes weeks to process and you often need a specific job offer first This makes lastminute or shortterm jobs impossible
IntermediateLevel Questions
5 How does the 90180 day rule hurt UK actors
UK citizens can visit the EU for 90 days in any 180day period without a visa But this is for tourism not work If an actor is filming for 10 days that counts as working and uses up their tourist days or they need a separate work visa
6 What about cabotage rules for touring theatre shows or film crews
Cabotage laws restrict how many times a foreign truck or van can enter an EU country to deliver goods This makes touring shows with UK vehicles and crew incredibly complicated and expensive
7 Are UK actors now treated like actors from the US or Australia
In many ways yes UK actors now need the same kind of work permits and paperwork as nonEU talent which puts them at a disadvantage compared to EU actors who have free movement
8 Has any EU country made it easier for UK actors
A few like Ireland and sometimes France
