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The response of the MRPG company members to being put on notice by the Australia Council in 1996

The response of the MRPG company members to being put on notice by the Australia Council in 1996.

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The response of the MRPG company members to being put on notice by the Australia Council in 1996

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  1. The response of the MRPG company members to being put on notice by the Australia Council in 1996 I remember feeling outraged. I have a vivid memory of sitting in the office and saying 'They can't do this!' We were all feeling angry that the funding bodies could not see how important the company was to the local community. All these other regional companies had recently bitten the dust without a fight. Of course we also realised we were all going to be out of a job. We decided to make a last stand. Rob Scott: MRPG Production Manager 1994-1996, HotHouse Theatre Operations Manager 1997- 2006

  2. Difficulty in appointing an Artistic Director for the MRPG in 1996 We probably had about four applications but they were just not of a good calibre…Quite rightly the Board and the company felt that the job of taking over a regional theatre that was in trouble needed someone really strong Fiona Barber: MRPG Actor 1993-1996, HotHouse Theatre co-Company Manager 1997, General Manager 1998-2005.

  3. The “Beechworth Weekend” We went into the Beechworth weekend with a set of questions. These included: • what are the perceived strengths and weaknesses of the company? • and how could the weaknesses be turned into strengths? Other questions would arise from the answers to these particular questions and details would evolve as the questions became more specific. Chris Corbett: MRPG Consultant 1996, HotHouse Theatre Artistic Directorate 1997 - 1999

  4. The MRPG required the “best Artistic Director around” to deal with its crisis At this point we asked ‘Why not contact them?’ Some of us knew them well enough to ask Rob Scott: MRPG Production Manager 1994-1996, HotHouse Theatre Operations Manager 1997- 2006

  5. The plan for restructure 1. . . . the Company structure evolve from a Community Theatre model into a Hothouse model that focuses on attracting associate artists to engage in the creating [of] local product of National significance. 2. . . . the role of Artistic Director be expanded into an Artistic Directorate of 12 key individuals. These individuals would be asked to make a three year commitment to the Company. This commitment would entail two two-day meetings each year (in November to evaluate the year, and in March to prepare the following year’s program). Aside from these four days, members of the Artistic Directorate would represent the interests of the Company in the wider field, act as advocates for the Company and liaise directly with funding bodies on behalf of the Company. “The MRPG/HotHouse”, Recommendations to the MRPG Board submitted by Chris Thompson, April 1996.

  6. The development of the Artistic Directorate model Chris Thompson and I were the architects who knew how the model worked [but] as the idea was born it began to shape itself. Chris and I had no feelings of ownership Chris Corbett: MRPG Consultant 1996, HotHouse Theatre Artistic Directorate 1997 - 1999

  7. The development of the Artistic Directorate model As soon as we started talking to people outside the bubble the idea seemed bizarre, however people in capital cities really appreciated the ‘hothouse’ idea. Chris Corbett: MRPG Consultant 1996, HotHouse Theatre Artistic Directorate 1997 - 1999

  8. Artistic Directorate core responsibility: “to determine the artistic vision and program within the framework of the company’s mission” • Three year commitment • Four weekend meetings a year • Formulate company’s artistic program • Oversee and monitor program • Devise and undertake specific projects as artists • Represent company in the national arena • Resource for industry networks • Liaison with funding bodies • Report to Board of Directors through Artistic Manager

  9. Inaugural HotHouse Theatre Artistic Directorate 1997

  10. Why join the Artistic Directorate? [The Artistic Directorate] seemed like a neat idea [although at first] I wasn't sure exactly how I could contribute. Roger Hodgman: HotHouse Theatre Artistic Directorate 1997 - 2001

  11. Key advantages of the Artistic Directorate In the early days the Artistic Directorate gave us credibility with all sorts of people. For example agents at first only dealt with us because of the “big names” on the Artistic Directorate. Now they deal with us because their artists are treated well. Charles Parkinson: HotHouse Theatre co-Company Manager 1997, Artistic Manager 1998-2006

  12. Board of Directors Artistic Directorate 2 Melbourne/Victoria 2 Other National 2 Sydney/NSW Artistic Manager General Manager Production Manager Operations Manager Marketing Manager Guest Artists Administrator/ Box Office Manager Trainees (Technical and Marketing) Casual Theatre Staff Reception/Administrative Assistant/Box Office HotHouse Theatre Company Structure 2002-2005

  13. 2002 restructure from 12 to 7 members With twelve you could go to sleep and no-one would notice! Wiggy Brennan: HotHouse Theatre Artistic Directorate 2000-2006

  14. Artistic Directorate Annual Four Meeting Cycle • February/March: • confirm draft program for following year • determine fallback positions • identify details for grant submissions. • May/June: • confirm artistic program and all personnel • discuss next triennium • identify prospective new members of Directorate • identify policy issues to be discussed for next meeting. • August/September: • lock down following year’s program • advance new projects for next funding application • one day policy discussion. • November/December: • transition of two incoming and two outgoing members • evaluate year, confirm artistic teams for following year • confirm Project Artistic Directors and Pit Crews for following year • develop new ideas for third year of rolling triennium • whole company Strategic Planning Day • attend season announcement.

  15. Artistic Directorate Board of Directors Project Artistic Director Artistic Manager Project Director Pit Crew Artistic Directorate Artistic Control

  16. The Strengths of Barber and Parkinson [They] are enmeshed in the community, they have a thorough knowledge of the Melbourne, Sydney and broader theatre scene, they possess good business and creative heads and they are constantly looking for funding and sponsorship opportunities. Chris Corbett: MRPG Consultant 1996, HotHouse Theatre Artistic Directorate 1997 - 1999

  17. The succession issue One of the reasons there are so few regional theatre companies is because there is a natural cycle in companies. Once the initial establishing cycle finishes it's very hard to get going again Roger Hodgman: HotHouse Theatre Artistic Directorate 1997 - 2001

  18. The succession issue It is hard to imagine two other people simply stepping into their roles. This was the purpose of writing their job descriptions [in 1999]. No-one should be irreplaceable…but they are. Chris Corbett: M.R.P.G. Consultant 1996, HotHouse Theatre Artistic Directorate 1997 - 1999

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