Download Executive Producer Briefing Document

NATIONAL THEATRE OF SCOTLAND
EXECUTIVE PRODUCER
CANDIDATE BRIEFING DOCUMENT
SEPTEMBER 2016
1.
1.1
Background Information
History
Scotland has five national companies of which the National Theatre of Scotland is the
youngest, having given its first-ever performance in February 2006. It was
established in 2004 in response to a demand for a national theatre for Scotland
following Scottish devolution in 1998 and the setting up of an independent Scottish
Parliament. Richard Findlay was elected the Company’s first Chairman and Vicky
Featherstone was appointed its inaugural Artistic Director.
The National Theatre of Scotland celebrates its 10th Birthday in 2016. Since its launch
in February 2006, the Company has been involved in creating more than 254
productions in over 244 different locations, attracting audiences in excess of 1.5
million. With no building of its own, the National Theatre of Scotland takes theatre
all over Scotland and beyond, working with existing and new venues and companies
to create and tour theatre of the highest quality. It takes place in the great buildings
of Scotland, but also in site-specific locations, airports and tower blocks, community
halls and drill halls, ferries and forests.
The importance of partnership and collaboration is fundamental to the National
Theatre of Scotland’s vision. It is only through this spirit of partnership and
collaboration, and in working with the existing theatre community, that the
Company can deliver the original ideals of:
“We see our role as cultivating the nation’s creativity, providing opportunities for
everyone to express themselves, be engaged audience members, and to share in bold,
playful and generous work. We seek to understand what it means to be a theatre for
everyone and to break down walls that prevent people engaging with our work,
whether economic, cultural or physical. We aspire to be a creative catalyst for
the sector as a whole, driving joined up talent development plans with partners
across Scotland, that seek to nurture theatre makers at all stages of their careers and
inspire the sector to reflect the diversity of contemporary Scotland’.
1.2
Vision and Values
Our vision and values are placed at the heart of our organisation and business
planning and they inspire and guide all our dealings both internally and externally. In
developing partnerships with individuals and organisations we will communicate
these values and share our principles.
Our Vision
To develop Scotland’s creativity by putting theatre at the heart of its cultural life.
Our Mission
To collaborate with artists and communities across Scotland and beyond, to create
world-class theatre with the power to change lives.
Our Values
Pioneering, Nurturing, Collaborative, Resilient, Irreverent. These values express the
way we will work to deliver our vision. They will be the qualities that guide us in
everything that we do, defining the personality of the company for core staff, those
we work with and the audiences who come to our productions.
1.3
Strategic Priorities
We want to be:
A Theatre for Everyone
We will produce work of artistic excellence across the whole of Scotland, extending
our reach and impact. We will break down walls that prevent people engaging with
our work, whether economic, cultural or physical and ensure the people who work
for us reflect the diversity of contemporary Scotland.
A Catalyst for Creativity
We will be a generator for experiment and change, providing opportunities for
people to play, grow and collaborate and be a galvanising force in the creative
sector.
An International Innovator
We will build on our international reputation, pioneering partnerships that expand
the outlook of Scotland’s artists and audiences, sharing contemporary Scottish
theatre globally.
A Healthy, Sustainable and Resilient Organisation
We will explore new operational models that promote collaboration, financial
resilience and entrepreneurship to establish a future organisation that is responsible,
flexible, sustainable and bold.
1.4
National Theatre of Scotland’s recent programme
The National Theatre of Scotland continues to present a hugely varied programme of
work, both onstage and participatory in communities.
In 2015/16, the Company presented a remarkable meditation on the space race and
migration, presented by Kai Fischer, in association with the National Theatre of
Scotland and the Tron Theatre. Last Dream (on Earth) interwove a live music score
and soundtrack allowing audiences to experience an immersive sound world via
headphones, performed live onstage in front of them. The piece was such a success
that it was invited to be performed as part of the highly prestigious European
Theatre Prize in Spring 2016 and has just completed a sell-out run at the Edinburgh
Fringe Festival.
The mighty James Plays have finished a UK and international tour – to enormous
acclaim - with engagements in Australia, Canada, New Zealand, Scotland and
England.
Rites, a challenging and provocative new production that explored the deep-rooted
cultural practice of Female Genital Mutilation, and its impact in Scotland, was
recently directed by the National Theatre of Scotland’s Associate Director, Cora
Bissett. A vitally important and urgent story, The List Magazine’s review wrote
“….skilfully highlights the complexity of FGM, demonstrating it is intrinsically linked
to bigger questions of race, immigration, cultural tradition and education.”
One of the main-stage highlights of 2015 was unquestionably Douglas Maxwell’s Yer
Granny, a large-scale piece of popular theatre which toured into Scotland’s
handsome No 1 theatres including the King’s in Glasgow and Eden Court in
Inverness. Based on the Argentinian play La Nona by Roberto Cossa, Yer Granny
played to huge audiences many of whom were first-time attenders to the National
Theatre of Scotland, evidencing the success of the Company’s programming strategy
in reaching a wider audience demographic.
Yer Granny was followed in Summer 2015 at Glasgow’s Tramway by an adaptation of
Scottish novelist Muriel Spark’s unsettling story, The Driver’s Seat. Directed by the
National Theatre of Scotland’s then Artistic Director Laurie Sansom, The Scotsman
described The Driver’s Seat as “dark, disturbing, thought provoking” and
commented “that it can plunge us, almost instantly, back into some neglected corner
of our own shared history.”
Perhaps best thought of as the third leg of a season that put women at the top of the
theatrical agenda, Our Ladies of Perpetual Succour was a smash hit from the off.
Adapted by Billy Elliot author Lee Hall from Alan Warner's brilliant novel about six
teenage girls from Oban on the cusp of change, the play opened at the Edinburgh
Fringe in August 2015. It attracted 5 and 4 star reviews and was the winner of a
Scotsman Fringe First Award, a Herald Angel Award and a Stage Ensemble Award.
Directed by Vicky Featherstone, the National Theatre of Scotland’s inaugural Artistic
Director, the show has met with such positive reaction that it is undergoing a second
tour, with a run at the National Theatre of Great Britain.
The Company had another successful year in terms of its international profile in
15/16 with its other-worldly production of Charles Dickens’ A Christmas Carol
touring to Ann Arbor in Michigan USA for a seasonal engagement and the exquisite
The Strange Undoing of Prudencia Hart appearing in the US in communities as far
apart as Winchester Virginia and Seattle.
The National Theatre of Scotland’s much-lauded production of Macbeth, originally
starring Alan Cumming, toured Japan for the first time. The production saw the
highly-renowned Japanese actor Kuranosuke Sasaki reprising Alan Cumming's role, in
Japanese, during performances staged in Tokyo, Aichi, Osaka, Kanagawa and
Kitakyusyu.
Partnership has been one of the key strands of the National Theatre of Scotland’s
work. These partnerships include working with the Edinburgh International Festival,
Vox Motus and the Tianjin People’s Art Theatre to present the award-winning family
show Dragon at the Edinburgh Lyceum and touring Scotland with the Company’s
first-ever full stage production in Gaelic – a new version of the much-loved comedy
Whisky Galore – produced in partnership with Robhanis and A Play, A Pie and A Pint
at Glasgow’s Òran Mór.
One of the most significant creative partnerships in the Company’s 10 year history
was a recent collaboration with Aberdeen City Council in the creation of Granite, a
major new participatory arts project. Granite was held in Aberdeen across seven
months from September 2015 to early April 2016, celebrated the spirit of Aberdeen’s
people and explored the city’s past, present and future. The project culminated in a
remarkable outdoor staging, by a 100 strong professional and non-professional cast,
in the quadrangle of the monumental Marischal College.
1.5
Financial Information
The National Theatre of Scotland has an annual turnover of circa £7.5m. It is funded
annually directly from the Scottish Government, with the 2016/17 core grant at
£4.174m. The Company also receives Scottish Government International Touring
funding, which varies annually dependent on programme activity. The National
Theatre of Scotland also generates further income from sponsorship, grants and
donations, which again varies dependent on activity.
1.6
Further Information
Further information on the Company’s activities, Business Plan and Annual Report
can be found on the website: www.nationaltheatrescotland.com
2.
Executive Producer Job Description
2.1
The Role
The Executive Producer is a new role at National Theatre of Scotland which provides
strategic producing leadership, takes responsibility for a range of important crossorganisational functions, and is Deputy Chief Executive of the organisation,
appointed by the Board.
The Executive Producer will work with the Artistic Director and wider artistic team to
plan, develop and deliver the National Theatre of Scotland’s programme, and will
also have overall responsibility for cross organisational areas of business planning
and delivery, income generation and diversification and international strategy.
The Executive Producer will report to the Artistic Director and will have regular
contact with the Chair and with other Board members as required.
The Executive Producer will work closely with the Artistic Director, Senior
Management Team and the Board on the further design and development of the
organisation to ensure it is meeting the changing needs of the context in which it
operates.
The Executive Producer will manage the Producing Team, the Technical Director and
the Director of Development.
2.2
Responsibilities
Producing, planning and implementation
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Act as Executive Producer for all National Theatre of Scotland productions, taking
lead responsibility for developing, delivering and monitoring the programme in
line with strategic business and financial targets, working closely with the Head
of Producing and the Technical Director.
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Take overall responsibility for negotiating producing and co-production contracts
and partnership agreements, ensuring the protection of Copyright and
Intellectual Property.
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Take overall responsibility for contracting creative and production personnel for
productions and projects in line with good practice.
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Take overall responsibility for the negotiation of Performing Rights.
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Ensure good practice in the planning, organisation and running of Company
productions and contributing to the promotion of excellence in the delivery of
the artistic programme.
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Lead on commercial enterprise, identifying, developing and managing
opportunities for the exploitation of productions through touring, commercial
transfers and partnerships.
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Lead on negotiations with commercial and artistic partners to maximise artistic
and commercial value.
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Ensure effective communication across the Company on all relevant operational,
cross-organisational and production-related matters.
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Oversee and support the work of the Head of Producing and Technical Director.
Business planning and strategic relations
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Take cross-organisational responsibility for the Company’s strategic business
planning process, ensuring that progress is monitored against stated targets.
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Co-ordinate the development, implementation and monitoring of departmental
and cross-departmental plans in line with Business Plan strategic objectives,
priorities and targets.
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Develop and oversee the implementation of an international strategy, thereby
continuing and strengthening the current successful trajectory of the Company
on an international stage.
•
Take responsibility for developing and maintaining creative and strategic
partnerships and collaborations across Scotland, the rest of the UK and
internationally which will fulfil the aims of the National Theatre of Scotland and
bring funding, connections, resource and expertise to the Company.
•
Represent the National Theatre of Scotland in a variety of strategic relationships,
with the Scottish Government, Creative Scotland, British Council and other public
bodies, acting as one of the main Company’s spokespeople.
Financial management and income generation
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Assume overall responsibility for financial planning, budgeting and control of the
company’s artistic programme and for relevant cross-organisational operations,
working with the Director of Finance and Administration and Senior
Management Team on financial forecasting and management and ensuring the
highest levels of financial integrity.
•
Take responsibility for setting the Company’s income targets from performances
and production development, and for achieving these targets through good
financial management, monitoring and reporting.
•
Work with the Artistic Director, Director of Finance and Administration and
Senior Management Team to support and sustain the Company’s overall financial
sustainability.
•
Contribute to risk management in relation to the Company’s programme and
relevant cross organisational operations, attending risk and audit committee
meetings as required.
•
Assume overall cross-organisational responsibility for enhancement and
diversification of income generation.
•
Oversee and support the work of the Director of Development on fundraising
and sponsorship, developing relationships with relevant organisations and
individuals and promoting the importance of fundraising and sponsorship across
the organisation.
•
Work with the Director of External Affairs in developing digital platforms and
broadcast opportunities in order to diversify and enhance income streams.
Deputy Chief Executive
•
As Deputy Chief Executive, the Executive Producer will have significant delegated
authority during periods when the Artistic Director is unobtainable whilst abroad,
in rehearsal or on leave.
The National Theatre of Scotland will be a continuously developing organisation. In
addition, therefore, to the responsibilities listed above, the post-holder will be
expected to contribute to any or all aspects of the organisation’s future activities as
and when appropriate and in consultation with the Artistic Director.
3.
Person Specification
Experience
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Knowledge and experience of producing theatre, events and activities in a
variety of settings and scales.
Demonstrable experience of assembling and managing production and
creative teams.
Experience of generating and negotiating venue, artist and co-producing
contracts.
Experience of negotiating and managing international performances and
tours.
Demonstrable experience in initiating, managing and sustaining effective
partnerships with a diverse range of creative and business organisations and
individuals.
A proven track record as a senior manager in an arts organisation, leading
teams of specialist senior staff.
Experience at a senior level setting, managing and reporting on annual and
long term production and project budgets, and of controlling and being
accountable for expenditure.
Experience of strategic and business planning, policy setting and
implementation.
Proven experience of achieving income generation through fundraising from
a variety of private and public sources.
Proven experience of successfully growing earned income streams.
A track record of developing audiences and marketing.
Experience of working with local authorities and public funding bodies
including developing funding applications.
Experience of working with and reporting to a voluntary Board of Directors.
Skills and Qualities
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Excellent leadership skills with the ability to inspire and motivate a team and
win the confidence and respect of colleagues and external contacts.
The ability to work with creative individuals and create the right conditions
for artistic excellence to flourish.
Competent in taking responsibility for decision-making with the ability to
deputise for the Artistic Director when required.
The ability to balance artistic risk-taking with financial viability and
commercial sense.
Strong financial analysis and management skills.
The ability to develop and grow income streams for the Company.
Competence in developing, nurturing and sustaining strong, productive and
long-term relationships with a variety of key, high-level personnel,
partnerships and networks.
Adept in managing multiple tasks and working under pressure.
The ability to work collaboratively.
Accessible and supportive to production staff, artists, participants and
audiences.
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An understanding of, and commitment to, diversity and inclusion.
Good negotiation and advocacy skills.
The ability to represent the organisation to a broad range of stakeholders,
networks and contacts locally, nationally and internationally.
Excellent communication and presentation skills internally and in the public
arena.
Knowledge
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Wide range of contacts and networks in the arts and cultural sectors
nationally and internationally.
Knowledge of UK theatre, dance and other art forms, particularly in Scotland.
Knowledge of arts funding systems and other funding opportunities.
Knowledge of Scotland and the theatre scene is desirable.
Summary of Terms
Contract:
Permanent contract
Salary:
Competitive, dependent on experience
Pension:
The Company will contribute up to 8% of salary against a
percentage contribution from the Executive
Notice Period:
Six months on either side
Holidays:
25 days annual leave, plus 9 Public Holidays
Relocation
An amount towards relocation costs is negotiable
5.
How to Apply
If you would like to apply for the Executive Producer position, please send a cv and
covering letter of no more than 3 pages stating why you think you are suitable for
the job to Heather Newill, Director, AEM International Ltd. at
[email protected] (preferred) or 10 Church Street, Framlingham,
Suffolk. IP13 9BH.
Applications should be submitted by Friday, 30th September.