Tom Spencer, 27 January 2013

Session called by Tom Spencer and attended by (amongst several others): Sasha,

Jaz, Daniel, Dan, Liz, Simon, John, Ilayde, Dan.


Who is the work for?

Why are we looking for new avenues?


There seems to be a feeling amongst emerging artists and companies that Edinburgh

is the only place that we can attract programmers and promoters (and national press).

Is that true? If so, we should probably do something about it… After all, Edinburgh -

however brilliant - isn't right for all types of work, is really bloody expensive and means

we can't go on summer holidays.

Residencies/Associate Artists

Do we need a better directory of theatres that run schemes for emerging artists - or is

that the responsibility of makers to research for themselves?

- Should we try to encourage more theatres to offer touring residencies (like the

Bikeshed in Exeter), which allow a company to build word-of-mouth across a longer

run (like in Edinburgh)?


Often work-in-progress nights are full of industry types; we should go to more of them

(not just when we or our friends are presenting work) - opportunities to meet industry

and support our fellow artists at the same time.

Many of the most exciting ideas in this session came from a discussion about:


'Support' slots - can we establish a culture where established artists offer emerging

artists pre or post-show slots for short showings to an in-built audience (in-progress or

finished work) when on tour?

…If these slots are offered to local artists: High profile opportunity to show larger

venues what their local scene is making. Good for theatres and established touring

companies because it could galvanise a local crowd.

AND/OR …If emerging artists are taken on tour by an established company: They will

gain invaluable experience of tour booking, logistics, management, marketing etc., and

(crucially) meet programming teams at regional theatres face-to-face.

PROBLEM: How does the emerging company get paid? Would audiences actually pay

more for a ticket that includes a ‘support’ act?

Online portal for booking

Would it be useful to have an equivalent of bandwagon etc. (like a version of myspace

with videos, links etc. but aimed at industry), whereby artists make a page specifically

as a portfolio for their touring work - allowing bookers to search by tech spec, style


- Perhaps this could be run like Spotlight (for actors), with pin-access so it's



If one artist/company finds that their one show isn't enough to entice the industry/press

that they are specifically aiming at (and they don't have the support of a larger

organisation), should we get together and do it ourselves?

- Artist coordinated mini-festivals of complimentary work.

- Pool what relevant industry connections we have.

- Discover new, curious audiences.

- Opportunity for grassroots industry invitations (ie. 5 companies, 5 sets of people to

physically walk into theatre buildings and let people know it's going on).

- Surely venues (for example the London Fringe) would love it?

Double bill touring

Up our chances of selling well and networking efficiently.

Offer venues a chance to make much more on the bar by creating interval(s).

Share resources such as van hire, accommodation etc.

BUT, can we really change double for a double bill? If not, are we losing what tiny

money is available in touring?


industry, Touring, Industry, Live music, Exposure, edinburgh, fringe, Edinburgh,

touring, Fringe

Comments: 1

Chris Grady, 27 January 2013

Some drama schools are offering new work commissions, opportunities to have new work produced, and what have been

called long-form projects where writers come in for 5-6 weeks and explore a new idea, or a re-write of an existing piece.

LAMDA have done this very successfully helping Conor Mitchell to gain a great body of produced work. Mountview are just

opening a new Tim Luscombe play. There are opportunities also for dialogue with the trainee directors to get work explored

in class.