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Feedback and Responses

-I found the day rejuvenating – personally and professionally, relieving that so many people care, and perfectly real ~ so many people taking responsibility for the future of this sector of the industry.
It was an honour to be asked back to work just 8 weeks after our son was born – and lovely that the Larder could make it work by being flexible with my arrangements so that I had the confidence to do the event knowing that my needs would be accommodated and I would be supported whatever came up…and because all that was in place – nothing came up.
The event ran smoothly, and it was excellent to be in the room with so many passionate colleagues, friends and professionals discussing the best ways to develop and support new musical theatre writing.
It was truly a pleasure. Thank you.

-It was a really enjoyable event and I felt very welcomed by all of the musical theatre crowd and inspired by their passion for the work.

For me, what came out of the day was the importance of creating new opportunities and business models ourselves, rather than feeling frustrated with current situations. West End Theatre and Musical Theatre production seems to have inflated itself into a strange, slightly impenetrable bubble, but this isn’t the only way to reach audiences or the only way to create funding.

With a bit of imagination, a lot of passion and working together rather than against each other, there is a whole new world of shows waiting to come to life!

-Different perspectives, divisions, diversity of styles, no question of what is right, an open book.

-Tribe, Energised, Knackered

-We need more producers!
Very encouraged To share stories
Collaboration

-Producers venues and writers need to meet early in process!

-Link w drama schools to be developed

1) hopeful
2) try to never be whiny
3) connected
4) tired
5) tribe building

-Thanks for a Brilliant and Beautiful Anniversary Day

-Thanks for organising a great day yesterday

-I was left thinking about the big gaps (in understanding, expectation and focus) between the different key people involved in developing a musical – writers, performers, producers and theatres – that also exists in other theatrical forms but is so massively exaggerated by the huge budgets, risks and expectations from musicals – not to mention the complexities of story, technicality and creative from balancing acting, singing, dancing, music, sets, celebrity, low-attention spans and ambition.

-I was reminded, from many of the conversations, how overwhelming all of that is for so many of the people involved and I feel more than ever that national bodies, school and organisations need to create safe spaces and processes. Places to fail, wonderfully, and that be great. I see that happening more and more with MTN, Mercury, the Curve, National and other bodies, and think that is the crucial element to create a culture of new musicals in Britain.

-I’m really interested by Mackintosh and Hytner’s plans to build smaller, more development focused London theatres, as there are also limits to where mid sized musicals can even play – or attempt to become profitable. Also […] the existing theatres are making it very, very hard for new British musicals especially if they are not coming from the ATG, Mackintosh, Kenwright or Webber stables. I could go on.

-Brava for organising this. I really liked the folk I met… I hope it made a difference to a few…

-Thank you again for organising the Soho event. The atmosphere was positive and it was helpful to connect to those who were there – although it seemed the majority of attendees were writers, which reduced many topics into semi-desperate discussions about the lack of funding. It made two of my (producer) connections a bit wary, both left after a short while and I feel they were a bit annoyed. I haven’t been able to restore those connections to the previous level. Early in the day I had encouraging chats with two producers […] who both asked me to send them some material. However, I’ve not received a response to my e-mails yet, so I can’t tell you if the event has been a catalyst for a project just yet.

-I enjoyed it. I got to talk to [an industry contact] a bit more, met [a director] again at another event, fed back ideas and thoughts onto the Devoted & Disgruntled website, had some fascinating discussions and heard how other creatives are working. Tried to make connections with a couple of producers who haven’t responded. Discussed issues about the cost of Edinburgh, one man/woman shows and devised group work with stand up comedians and other creatives. It was a lovely way to end the year and start a new ‘season’.

 

Reach

Now that we’ve had time to reflect on the outcome of the event, here are a few things that stood out for me personally:

10% of the people invited actually attended.
42% replied to the invitation in some way.
58% did not respond at all.

This feels fairly standard to me, but the full invitation list is now a tribe of hundreds of people, collectively representing:

26 x academic establishments
5 x literary agencies
2 x theatre angels
3 x digital media
11 x commercial producers
1 x corporate event manager
3 x cultural attaches
3 x producing organisations who specifically develop new musicals
16 x directors
1 x dramaturgy network
5 x theatre festivals
1 x folk arts support organisation
21 x London fringe venues
3 x funding organisations
7 x games designers / makers
1 x hotel chain
2 x innovation networks
1 x theatre marketing company
3 x journalists
1 x theatre buildings network
4 x theatre producer networks
1 x community theatre network
1 x arts leadership network
3 x opera companies
2 x performers
2 x performer organisations
1 x commercial media producer
47 x independent theatre producers (2 from overseas)
1 x music producer
1 x production designer
7 x publishers
16 x regional theatres
19 x regional London theatres
1 x London theatres network
4 x major London producing houses
22 x theatre companies
1 x national TV company
1 x European song competition
8 x unions / professional organisations
19 x writers
7 x youth theatres

– which I feel has great potential. I mean, imagine what we could achieve, if we all got into a room together for a day, and really went to work on revolutionising the world of new musical development? I’ve got a few ideas for how we might achieve that: watch this space.

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