After only a year of welcoming producing students to the CGO Institute, I am proud that we have become members of the ITI/UNESCO Network for Higher Education in the Performing Arts.
Between teaching, I caught three shows – two in London and one in Glasgow. Two shows came with the same heritage – produced originally at the Tron. The third one, a massive production also produced by an adventurous Scot.
In a previous blog, I talked of the excitement at waking up in our industry. But any time we bounce forward, we have to accept that we live on a rollercoaster. And the rushes to the bottom are not usually accompanied by screams of joy and thrill.
I recently tried a technical experiment with Zoom and believe we may have found a way to harness the power of distance connection with the desire for getting back in a room.
As the West End reopens with the welcome return of blockbusters which will get the massive press coverage with red carpets and celebrities, my gaze turns to off West End, Regional, and new work development. I have been to Clapham Omnibus, Perth Theatre, and the Capital Theatre Studios in the last few days… alongside conversations with Broadway and Korean networks of producers. It is a fascinating time (and scary).
I kicked off our fringe experience with Captivate Theatre’s exuberant and joyful Sunshine on Leith. A large company of Edinburgh-based performers and musicians who first presented the show back in 2014.
So many amazing inspiring potential entrepreneurs have been in the room at Chris Grady’s workshops, networks and CGO Institute events, but now I want to look out for a much broader ‘audience’ of people who have never come across one of my workshops or networks
What made theatre manager Gordon Stratford special for me, as a boss, was his passion for the theatre, his quick understanding of potential audiences, and his willingness to give his marketing team the chance to challenge him on proposed prices, deals, and even show choices.
I was talking with a client yesterday, who is a theatre-maker and wanting, like so many, to get back in front of a live audience and to work close with fellow creatives to make work happen. We decided to focus on a few areas – not least because we have no idea how long we are going to be in the current state of lockdown and reliance on digital platforms.
At the darkest moments I have to believe there is a future for our industry. I have to believe we will defy our government and prove to be viable. I absolutely believe the way that this will happen is through the invention and enterprising energy of creative producers making stuff happen.
Over the last few months I have moved so much of my life and work online, often using Zoom, as so many of us have. Yesterday someone decided I should now call myself a Zj…which sounds fun.
It is a strange time to predict a new world. But I hope that the planned Diploma in Creative Producing will come at the right time for a re-emergence of creative practitioners across the globe.
As River In The Sky opens at The Hope Theatre for three weeks, Lindsey Cross and Howard Horner, who play Ellie and Jack, talk about their experiences during rehearsals and what it means to show this new play about dealing with grief to an audience. Book your tickets now!
An unusual first Brighton performance and a keepsake perfect for a storyteller; as she brings Mary Blandy’s Gallows Tree to Brighton Fringe, Lita Doolan tells us about her love for the Brighton Fringe. Read on, then book your tickets.
My recommendation to any theatre producer and creative reading this is grab any opportunity to make these kind of trips. Open your eyes to everything that you see.
I am bemused. Last night I was at a show which has been an immense hit in its lifetime and has been described as masterful by the press.
So along with my declared New Year’s Resolution to see at least one piece of theatre in Scotland every two weeks, I will also try wherever I can to say “yes” to the unexpected.
I’m a coach with years of experience of helping others to set achievable goals, so I know how to do it. Tonight I decided to ensure I saw an average of one theatre show a week across the Scottish professional scene (excluding the Edinburgh Fringe) for 2019. Easy. Just do it.
My challenge is to bring an opportunity to British playwrights who have a play which deserves to be published and licensed around the world.
This weekend I was part of an extraordinary workshop which was a first of its kind in Europe, or so I am told. A chance to work on the consciousness explorations of Patricia Albere developed in her practice and her book.