Theatre Production Development Fund Proposals for consultation

Transcription

1 Theatre Production Development Fund Proposals for consultation 1. Introduction 1.1 In our Investment Review decision paper, Renewal and Transformation, we proposed- A new development fund to encourage better quality drama production in both languages. The emphasis would be on investment at the preproduction stage writer / script development, rehearsed readings, work in progress etc. 1.2 The Investment Review acknowledged the work of Clwyd Theatr Cymru, Sherman Cymru, Theatr Genedlaethol and the newly established National Theatre Wales but found that we were failing to deliver a stable portfolio of consistently high quality work across all scales of activity. Familiar problems continue to prove challenging: we find ourselves with a top-heavy infrastructure where the big fish have little below them that s able to nurture and grow the theatre ecology the quality of work is either variable in quality, or so re-assuring in its familiarity that it lacks ambition and dynamism venues report that there isn t enough touring work of sufficient quality in either language being made in Wales to satisfy potential demand or to sustain even a split week of performances (let alone a longer run) 1.3 There has been a blurring of lines between presenter and producer with a number of presenting venues beginning to produce, or co-produce, work. Arts Outside Cardiff funding, which has been consolidated into venue funding, is seen to have been a major catalyst in this change. This can bring artistic benefits provided that the quality of activity is maintained. We are also mindful of the pressures on independent producing companies and the challenges that they face in developing work. Major priorities for this new fund will be the support of new and challenging collaborations and creative development by non revenue funded producing companies. 1.4 The Theatre Production Development Fund would work in parallel with the theatre and drama strand of the new National Touring Fund. This

2 consultative paper outlines our current thinking on what a Theatre Production Development Fund might look like. Subject to the necessary funding being available, we want to move forward with this as a new initiative for the financial year 2011/12. The closing date for consultation responses is Friday, 4 February, What we re trying to achieve 2.1. The aim of the fund is to help theatre producers to develop work which is exciting, challenging and relevant to the audiences of Wales. This will not be a production fund, there are other channels for application for creating and touring productions. This fund is for the development of ideas and ways of creation. We want to hear about ideas of high quality and imagination, concepts which are compelling in their potential, and ways of working that promise a product that will be well-crafted in its delivery. We are often approached with ideas that have the potential to fulfil these criteria but those ideas are not sufficiently developed to enable us to support the applicant to move directly into production and touring. The purpose of this fund is to allow development work to be undertaken on the best of these production ideas. The majority of awards being made will be in the region of 10k to 25k with the possibility in exceptional circumstances of awarding up to 50k. 2.2 While some touring companies are able to build relationships with venues and audiences over a number of productions, touring activity all too often has to take a suck it and see approach. With so little margin for error, creatively and financially, the pressure to succeed on every occasion can itself become a barrier to success. Our aim with the Theatre Production Development Fund is to tip the scales back in favour of the producer. We want to increase the likelihood of success by creating an environment in which emerging ideas can be properly researched, trialled and improved. We would expect that the development of partnerships with venues and planning for fund-raising and promotion of the production to be a significant part of the development process. 2.3 We envisage that the Theatre Production Development Fund will be used for activity that is genuinely developmental in nature an opportunity to innovate, explore new techniques in relation to the proposed idea, or

3 introduce fresh creative collaborations without the pressure to produce a finished piece of work. However, applicants must also focus on the audience for the proposed production idea and as part of the application we will expect a clear and focussed explanation about how the work will be developed with its audience in mind. We will not expect an award to result in the creation of a piece of work in its own right. We will however expect applicants to outline clear plans for how they will use the development and work in progress stages to promote the idea to would-be promoters and stakeholders. 2.4 We aim to increase the opportunities for the creation and touring of theatre and drama productions as a strand in our new National Touring scheme. However, increasing the availability of work is, obviously, not an end in itself. Merely ensuring sufficiency of product is of limited benefit if that work doesn t have the potential to excite and grow audiences through the quality of its imagination and execution. We see this new Theatre Production Development Fund as providing significant potential for the development of new, exciting and innovative proposals. Showcases resulting from these development awards would give venue managers the opportunity to engage with the work in progress and collaborate with producers on further development of that work. In some cases sharing the work in progress with a testbed audience would be appropriate and helpful. Those successful applicants wanting to take their ideas forward the following year by applying to our National Touring scheme would have fully developed proposals backed up by the evidence of the development work. Applicants could consider the best way of including ways of sharing the development work with us and possible partners as part of the planned activity. We would expect successful Theatre Production Development Fund applicants to use the opportunity to engender venue interest and would expect to see this demonstrated if the applicant was considering appllying to us for funding for the production. 2.5 For the moment, we re keeping an open mind about how such activity might be developed. We are looking for fresh approaches and new ideas and would leave it open for the applicant to describe how the work would be developed. 1. Do you agree that there is a need for such a fund? Would there

4 be genuine potential for this to lead to the development of new and innovative productions? How might that be a catalyst to significant audience development? 2. Is our description too vague in 2.5 about how funds might be used? Is there a value in leaving the method open for exploration via applications? 3. Who should be able to access these funds? 3.1 We envisage that we d receive applications from: a producing company a venue a consortium of co-producing production companies a consortium of co-producing venues a collaboration between an individual artist and/or producer, venue or producing company (in this case the venue or producing company would be the applicant) 3.2 We d expect applicants to be Wales-based. However, we d be happy to see creative partnerships between Wales based companies/venues and those from the UK or further afield, provided there s a demonstrable benefit to the artists and audiences in Wales. 3.3 We wouldn t expect to fund: o development work by revenue funded companies part of whose remit is to develop new work. (An exception to this might, however, be made where such companies could demonstrate the need to develop a particularly exciting collaboration an exception might be made) o projects that only involve the commissioning or writing of a script o development of student productions o development of youth theatre productions o the development of productions by amateur or community theatre groups

5 3. Do you agree with our description of who would be eligible for support? 4. Funding criteria 4.1 We expect and will welcome applications for projects working through the medium of either Welsh or English or interesting and satisfying ways of using both languages in a truly theatrical merger. But, since this is by its nature a scheme that is focussing on the innovative, we would also hope to receive applications that explore a whole variety of forms of theatre and theatre technique such as non-verbal theatricality. 4.2 We want to try and keep criteria to a minimum. Below we set out our proposals on the specific criteria we d propose to use to reach a judgement: the potential of your creative idea we accept that your project might not necessarily be fully defined at this stage. However, as well as the inspiration for your proposal, we d also need a convincing description of how the work outlined in the application will assist you in the creative development of your production idea. audience development - the potential and the quality of the creative idea in terms of audience development will need to be supported by evidence that you have a clear understanding of how the project will go forward to reach audiences after this development phase. project description we d need a description of what your project is likely to entail, the timescale for the work, how your project will be managed and what you hope to achieve calibre and appropriateness of your creative collaborators the quality of the people that you re planning to work with is likely to have a demonstrable impact on the success of your application. We would need names of the creative collaborators and would expect to be able to discuss your proposal with those collaborators in advance of our decision making meeting

6 budget a breakdown of anticipated income and expenditure with a note of any assumptions. We would expect all artists taking part in the process to be paid at least the minimum industry rates for their work value for money we know that projects are likely to vary. However, we d expect the size of the grant that you re seeking to be commensurate with the scale and type of project. evaluation we d like you to explain how you re going to judge the success of the project and how it might contribute to future development of your proposed idea. 4. Do you feel that these are the right criteria for us to use when assessing applications? 5. Is there anything missing that you feel we should have included? 5. The application process 5.1 Applications to the Theatre Production Development Fund would follow our usual Lottery applications processes. (For more information see Applicants must demonstrate a minimum of 20% partnership funding. Up to 10% of the eligible costs can be provided in help in kind. 5.3 Applicants, however, will usually be expected to maximise contributions to their project from other partners and earned income. We are keen to support projects which are funded collaboratively. Funding for your project from other sources demonstrates a commitment to the aims of the project by funding partners and, in sharing the cost, allows our funding to be distributed amongst more projects. 5.4 Partnership funding may include:

7 your organisation s own funds, although these must be from a non-lottery and non-arts Council of Wales source cash contributions from other partners in the project grants from other organisations (at least 10% from non-lottery sources) suitably evidenced in kind contributions up to 10% of the total project cost (e.g. donated rehearsal space, volunteer time; loan of equipment) are also eligible as partnership funding but these cannot be from your own resources 5.5 Application to the Theatre Production Development Fund will be exempt from the rule that an organisation can only hold one Lottery funded award at one time in the same way that applications for a training grant are exempt. 6. Our Theatre Development Fund will be a strand within our Lottery programme and will broadly follow our overall Lottery guidelines. Is there anything in our current guidelines that you d like to see reviewed or changed? 6. Assessment and decision-making 6.1 Applications will be assessed by an officer in your regional office, supported by the Senior Theatre and Drama Officer. During the assessment we may discuss the proposal with named collaborators on the project. Assessment will be based on a clear set of criteria, informed by this consultation process. 6.2 Decisions will be made by a Panel chaired by an Arts Council of Wales Director and involving a minimum of two National Advisers. 7. Do you have any comments on assessment and decision-making? 7. Conclusion

8 7.1 We d welcome your views on this document. Although we re seeking your views on the specific questions set out above, we d be happy to receive any other comments that you might wish to make. 7.2 The closing date for consultation is Friday, 4 February, We d be grateful if you could send responses to response@artswales.org.uk