Below is an article from “The Guardian” written 4 February 2015.It is not just the claimants who ae finding things difficult.
“Angela Neville, 48, is describing events she witnessed as a special adviser in a jobcentre that prompted her to write a play about her experiences.
“We were given lists of customers to call immediately and get them on to the Work Programme,” she recalls. “I said, ‘I’m sorry this can’t happen, this man is in hospital.’ I was told [by my boss]: ‘No, you’ve got to phone him and you’ve got to put this to him and he may be sanctioned.’ I said I’m not doing it.”
Neville worked as an adviser in Braintree jobcentre, Essex, for four years and has written a play with two collaborators, her friends Angela Howard and Jackie Howard, both of whom have helped advocate for unemployed people who were threatened with benefit sanctions by jobcentre staff.
The title of the play, Can This be England? is an allusion to the disbelief that she and the others feel at how people on benefits are being treated, she says. And she unashamedly describes the play, in which she also acts, as a “dramatic consciousness-raising exercise”.
Can This be England? deals with the quagmire that awaits people caught in the welfare system. Scenes are set in jobcentres and in characters’ homes addressing some of what Neville calls the “everyday absurdity” of what occurs, such as when people with disabilities and fluctuating health conditions are wrongly declared “fit for work” inflicting additional suffering in the process. It also examines the dilemmas faced by staff in jobcentres, many of whom Neville believes feel stripped of any power to do good and are crumbling under the strain as managers enforce new rules.
“You’re not doing the job, you’re firefighting,” she says. “From my own experience, staff are subjected to constant and aggressive pressure to meet and exceed targets. Colleagues would leave team meetings crying. Things were changing all the time. The pressure was incredible. Advisers were actively encouraged to impose sanctions (along the lines of “sanction of the month”) to contribute to the points system that ranks jobcentre offices. It was often for stupid reasons,” she adds.
“And it was happening all the time. A customer maybe would be a little bit late or would phone in and the message wasn’t passed on. It was very distressing to have customers literally without food, without heat, without resources and these are unwell [and] disabled customers. If it hadn’t been for the fact that most of my colleagues were dedicated and compassionate people I wouldn’t have lasted more than a few months.”
A demonstrable shift took place once the coalition settled in, says Neville. Along with “relentless” targets, huge caseloads, and less time to spend with individual claimants, she lists the increasing complexity of the system including the many and very complicated forms that needed to be filled in and problems with the fitness to work test administered by Atos. “It used to feel like we were doing something for clients, now it was [doing something] to them,” she says.
Things were made all the more difficult, she adds, when staff were given far fewer opportunities to assist claimants with things like accessing grants previously available for interview preparation, such as getting a haircut. “These small things can mean a lot. Over time, though, this fund was chipped away until requests were routinely turned down,” she says. “Initially I felt that I had the resources to genuinely support customers. Sadly, this changed once the coalition came in – to the extent that the work almost became the persecution of some of the most vulnerable people in society.”
A central motivation behind the play was how “morally compromising” the job had become, says Neville. In one scene an adviser tells her mum that it’s like “getting brownie points” for cruelty. When Neville herself became redundant in 2013, she was warned about being sanctioned for supposedly being five minutes late to a jobcentre interview.
There was also a strong feeling among the playwrights that the tendencies in wider society and the media to stigmatise and vilify benefits claimants needed to be refuted. The play opens with a scene where nosey neighbours spot someone on sickness benefit in the street and assume they must be skiving instead of working. “This play is about getting people to bloody think about stuff. Use their brains. Sometimes I think, crikey, we are turning into a really mean, spying on our neighbour, type of society,” says Neville.
She is one of many former jobcentre workers speaking out with revelations about a “culture” of targets and accelerating pressure on staff to shift people off benefits, (repeatedly denied by the Department for Work and Pensions) often by the overuse of arbitrary and harsh sanctions that mean people’s benefits can be stopped for weeks and sometimes months. Like others, Neville says the new regime rolled out by the government as part of its “back-to-work” drives and budget cuts has caused enormous stress for claimants but also for the staff expected to implement them. Some advisers’ stories have been officially documented, such as that of John Longden, a former jobcentre official who gave written evidence to the ongoing parliamentary committee investigation into sanctions of “hit squads” setting claimants up to fail. Today, work and pensions minister, Esther McVey, will be grilled by the committee on the increased use of benefit sanctions.
Neville acknowledges that she has worked in just one jobcentre but argues that as the evidence from other frontline workers comes out it is clear that poor practices are commonplace.
She insists she isn’t normally a political person. “I don’t have a particular axe to grind … but it does always seem to happen under the Conservatives,” she adds.
Can this be England? has only had a couple of performances in Quaker meeting houses, but more are planned in the coming months. As for what lies ahead, Neville is adapting the stage play for radio and says the script is freely available to other performers who want to put the play on. One reason for doing so is to gain a wider audience but it is primarily because she and her co-writers worry about serious problems down the road with social security reform. “I’m really scared that these next [welfare spending] cuts are going to come along and that people are going to get used to it and say: ‘that’s just the way it is’. It’s the acceptance of it I can’t bear to think about.”
Lives Braintree, Essex.
Education Helena Romanes school, Essex; Signals Media Arts Centre, foundation, broadcast and video production; Braintree college, City & Guilds FE teaching.
Career 2013-present: self-employed writer/creative writing tutor; 2009-13: personal adviser, Braintree Jobcentre, Essex; 2008-09: NHS administrator, Mid-Essex School; 2006-08: PA, CTL Digital, Braintree; 2005: arts co-ordinator, Essex county council; 2003–05: learning adviser and associate lecturer, Braintree college; 2000-02: creative writing tutor, Essex council; 1998-2002: learning resources manager, Tabor Academy, Braintree; 1992-97: deputy manager/senior library assistant, Braintree library; 1985-1992: archaeological site assistant, Braintree district council/Essex county council.
Writing Can This Be England?; The Season Saga; The Clod Hoper, Belly Laughs, The Little Woman, Pulp Fairies; The Grumpy Court Jester (BBC Children’s television – Playdays); Fact of Faith (BBC Radio Drama Young Writer’s Festival); The Victim (Royal Court Young Writer’s Festival & InterPlay Festival, Australia).
Interests Acting, writing, directing, cinema, X-box 360.