UNIT 3: THE PERFORMING ARTS BUSINESS

Unicorn Theatre:

Artistic Director: Purni Morrell

Executive Director: Anneliese Davidson

Technical Director: Phil Bentley

STAFF:

DIRECTORS' OFFICE

020 7645 0512 | office@unicorntheatre.com

Artistic Director Purni Morell
Executive Director Anneliese Davidsen
Producer Carolyn Forsyth
Assistant to the Directors' Yasmin Lewis
Finance Director David Cheddie
Young Company Director Ellen Edwin-Scott
Learning Associate Catherine Greenwood
Community Projects' Director Sally Pembroke

DEVELOPMENT

020 7645 0527 | development@unicorntheatre.com

Director of Development Tamzin Golding
Development Manager (Trusts and Foundations) Cecelia Lagier
Development Manager (Corporate Sponsorship) Lorna Killin
Development Officer Melissa Wilkins

COMMUNICATIONS

020 7645 0555 | marketing@unicorntheatre.com

Director of Marketing and Communications Helen Tovey
Schools' Relationship Manager Ella MacFadyen
Marketing Officers Bonnie Smith and Jane Dodson
Events Producer Sair Smith
Box Office Manager Dan Crosby
Press and PR (freelance) Clióna Roberts, CRPR
Community Arts Apprentice Georgia Hayden
Deputy Front of House Manager Warrick Griggs
Performance Managers Lyn Medcalf, John Cockerill
Ushers Anna Johnson, Clare Quinn, Flo Dessau, Haleemat Adeyemi, Henry Reynolds, Housni Hassan, Jackie Downer, Jessica Hayles, Joanna Selcott, Josh Stamp-Simon, Katy Cracknell, Malika Quintyne
Box Office Assistants John Cockerill, Tom Dancaster, Nadia Giscir, Clare Quinn, Oliver Roll, Claire Sundin, Paul Brewster

PRODUCTION

020 7645 0500 | production@unicorntheatre.com

Technical Director Phil Bentley
Production Assistant Liz Lawson
Technical Building Manager Colin Allen
Technicians Jef Mitchell, Matt Lewis & Rob Johnson
Stage Door Keepers Paul Brewster, John Cockerill, Tom Dancaster, Nadia Giscir, Jessica Hayles, Anna Johnson, Lyn Medcalf, Matthew Newell, Claire Sundin, Emma Thomson, Clare Quinn

'The Unicorn was founded in 1947 as a touring theatre that operated out the back of a van and took plays around the country for children. Its core founding philosophy was that plays for children should be treated as, made the same way and judged the same way as plays for adults.'

'It is two and a half years since Morell took up her post at the Unicorn. Not long after she started, she declared: "I think of the Unicorn as a theatre, and not necessarily as a theatre within the children's sector." There were mutterings from some people who thought it was a sign that the plain-speaking former head of the National Theatre's Studio – Belgian by nationality, but raised in the UK – wanted to alter its focus. But the Unicorn remains very much a space for the young, and in the future is likely to become even more so: there are plans afoot for a show next year where anyone over the age of 12 will be excluded from the audience.'

Notes from class:

Submission date: 8th December 2015

http://xtlearn.net/Welcome

We used this website called ' Xtlearn.net' to help with the basics of the business of the performing arts.

Staffing a production company:

Chief Executive
Artistic Director
Administrator
Marketing Manager
Production Manager
Front of house Manager

Research of roles also found on: http://www.theatrestrust.org.uk/resources/exploring-theatres/who-works-in-a-theatre

Chief Executive:

The chief executive manages the theatre, ensuring everyone is focused on putting on shows, attracting and looking after audiences, and making the theatre a financial and artistic success. He or she oversees the planning of the theater's programmes and has overall responsibility for the theater's finances, staff and the building itself. They report to the theater's owners or trustees.

Qualities:

Develop a strategy and execute it
Manage resources as strategic investments
Build strong, flexible, teams from across the enterprise
Be a great connector
Deploy technology as a competitive advantage

Artistic Director:

The director develops the artistic vision of a production and often the overall programme to be presented by the theatre. If they work for a producing theatre or a production company they will direct productions. Once the production opens or goes on tour, the director passes their instructions to the stage manager or deputy who writes 'the book'. This is the full script along with the prompts and cues for the performers as well as lighting, sound and scene changes and any last-minute changes or revisions.

Responsibilities: http://www.tricycle.co.uk/wp-content/uploads/2008/08/AD_Job_Description.pdf

To provide strong, inspirational and high-profile leadership to enable The Tricycle to achieve its artistic and strategic objectives within a changing cultural and commercial environment

To lead and develop artistic policy to create an imaginative programme of high quality theatre, including three to four Tricycle productions a year, at least two of which will usually be directed by the Artistic Director, and a diverse range of visiting productions from the UK and abroad.

To seek out, commission, and support including through the Bloomberg Writers’ Group new, emerging and established writers and ensure a high standard of dramaturgical input to new plays commissioned and produced by The Tricycle.

• To select, secure and/or approve all guest directors, visiting companies, creative teams, actors and other artists.

• To develop the widest possible audience for The Tricycle’s work, particularly amongst those people living in Brent, and to champion its commitment to accessibility and affordability.

• To lead The Tricycle’s Education team and help it to develop and deliver The Tricycle’s Education and Social Inclusion Programme, ensuring that it meets the needs of Brent’s many local and diverse communities.

• To develop and oversee the delivery of The Tricycle’s cinema programme, currently programmed by Watermans, to a broad range of audiences, particularly to people living locally.

• To oversee the direction and delivery of The Tricycle’s visual arts programme including exhibitions by local artists and cultural producers as well as a range of visual arts educational activities.

Administrator: https://targetjobs.co.uk/careers-advice/job-descriptions/277703-arts-administrator-job-description

Arts administration encompasses a wide range of roles – from community arts promotion, to theatre ‘front-of-house’ work and festival organisation. There is no ‘typical’ job profile and arts administrators may have marketing, advertising, publicity, market research or public relations roles. Alternatively, they may be responsible for general or financial administration, project management, accountancy or human resource management.

Irregular hours are common but there are advantages to the job; arts administrators can expect to be some of the first people to see a new show and they will be working alongside people who are very passionate about their jobs.

Vacancies are advertised in newspapers, regional arts magazines and specialist publications such as The Musical Times and The Stage and their online equivalents. As with many roles in the sector, starting salaries are fairly low and you may have to take up a lot of short term or seasonal contracts.

Qualifications and training required

While no specific degree subject is required, an arts administration MA, or an artistic or business management qualification can be helpful. Vacancies attract fierce competition, so a strong body of relevant work experience is vital. This can be gained by volunteering or working part-time with venues, helping to organize university events or by assisting with arts festivals. A demonstrable passion for the arts is vital.

Key skills for arts administrators

Administrators will need to have good communication skills in order to manage artists and engage with the public. Other key skills include:

numeracy
negotiating contracts
managing budgets
working well under pressure
promoting and publicizing events
IT skills

Marketing Manager:

The marketing manager’s role is to promote and sell tickets. To do so, they manage all aspects of the theatre’s publicity and advertising material which includes, fliers, posters, press adverts, brochures, newsletters and websites. They oversee their content, design and production and arrange distribution of all printed material. Sometimes, in smaller theater's, this role includes press and public relations.

http://www.brightknowledge.org/knowledge-bank/arts-and-humanities/careers-and-courses/my-job-explained-arts-marketing-manager

On this website it is a lady describing about her job, the qualifications she has are: An English degree, and recently gained 'The Chartered Institute of Marketing's Professional Diploma in Arts Marketing'.

Production Manager: http://study.com/articles/Theatre_Production_Manager_Duties_Outlook_and_Requirements.html

Theater production managers keep a production running smoothly by working as a liaison between the cast, crew, and director. They verify theater purchases, organize meetings, and schedule rehearsal times. Theater production managers also take extensive notes concerning the director's vision, technical issues, and cast blocking to verify continuity. Some theaters require prospective production managers have acting experience, and many require backstage experience. Most theaters don't require any specific formal education, but look for applicants who have multi-faceted experience in theatre as well as experience managing or organizing staff.

Theatre production managers, sometimes called stage production managers, have a long list of responsibilities during every stage of the production process, from auditions and rehearsals to opening night and post-production. They work closely with directors and other department heads to make important decisions regarding casting, costuming, lighting, and other aspects of theater productions.

Theatre production managers often take care of the actors. This involves setting up auditions and maintaining a green room as a relaxing place for cast members. Production managers keep accurate blocking notes regarding the position of the actors and props throughout every scene. These notes are disbursed to the director, technical director, and cast. Theatre production managers also create rehearsal schedules for actors and crew, maintain all contact information, and set up any additional meetings for the cast and production staff.

Keeping the stage and backstage areas organized is an essential task of theatre production managers. Not only must these areas be swept clear prior to rehearsal, they must be cleaned after each day's work. Some theaters provide production managers with a cleaning crew, but this varies based on the theater's size and budget. Delegating cleaning responsibilities typically is necessary for larger productions.

Required Education	High school diploma
Other Requirements	Field experience
Projected Job Growth	3% from 2012-2022 for producers and directors*
Median Salary (2015)	$49,458**

Front of house Manager:

They are the public face of the theater, and work according to it's performance times. Staff include ushers or theater hosts who greet the audience and direct them to their seats quickly and safely, or to the cloakrooms, toilets and bars. They also sell confectionery, programmes, souvenirs, merchandise, and refreshments, an important source of income for a theater. Their duties also include assisting less mobile members of the audience. All are trained in security, and health and safety, including the safe and speedy evacuation of the theater.

Front of House Manager Duties

Manage the Reception, Telephony, Room Reservations, Catering and Cleaning over a large account.
Deliver the professional greeting of clients and visitors, to the highest standards
Monitor, manage and review the Catering and Cleaning contracts
Ensure the team leaders and supervisors co-ordinate their staff to ensure the delivery of exceptional front of house services.
Implement dynamic operational working procedures, to support the delivery of service excellence
Develop strong communication and line reporting procedures to guide service implementation making improvements or changes where required
Implement safe working practices to ensure safety of building occupiers and visitors
Lead monthly management report meetings with the client and build strong relationships with key business leaders
Strong detail analysis of service delivery and identify continuous improvements
Introduce systems for analysis of service delivery ie mystery shoppers etc
Monitor the team’s performance promoting achievements and identifying weaker areas for improvement

Required Qualifications

A front-of-house manager needs to have excellent management skills and a real enthusiasm for theatre. Many often start out by working as ushers or box office assistants in theatre's before working their way up. Experience in customer service is useful, especially when combined with an interest in drama and theatre.

General business and management training can be beneficial. The following degree courses could improve chances of being employed in a management role:

Business Management
Arts Administration
Arts Management
Drama or Theatre Studies

Gaining work experience in theatre or cinema box offices can be very useful, and building up customer services skill in whatever way will improve chances.

UNIT 3: THE PERFORMING ARTS BUSINESS

Tuesday, 8 December 2015

PRESENTATION:

Tuesday, 10 November 2015

Actors CV

Organisational Structure