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15tipsonsettingupatheatrecompany|Cultureprofessionalsnetwork|TheGuardian

15 tips on setting up a theatre company

From funding to fringe festivals, a panel of theatre pros who have been there and done it share their expert insights

Comments curated by Matthew Caines

Wednesday 28 August 2013 16.57BST

Alexander Kelly, co-artistic director, Third Angel

The work you make is the most important thing: Never forget that. It may well sound obvious, but when you're getting stuck into the
complexity of whether to be a partnership or company limited by guarantee, it's useful to be reminded. Unless you've got specic projects
you want to make together (or alone), the business stu is pointless. A company isn't just the legal entity it's the people making the work
together.
Make the best work you can. Make the work you want to make.
When it comes to nances, plan ahead: In Third Angel we set ourselves a timetable; we put money into our rst show, and then decided
that:
For the next year we would only make work for the money we raised, but wouldn't pay ourselves
The next year we would pay ourselves for performance days, as they were days where we clearly couldn't do any other work, whereas
rehearsals were more exible
In year three we would pay ourselves for making time as well

We stuck to this. That meant for the rst few years we also taught part-time in a secondary school, ran workshops, did get-ins for other
companies, signed on and went on start-your-own-business courses (less of an option now I expect). We even did bits of performance for
other companies, including motion capture for computer games.
After four years we nally started getting a weekly wage at equity minimum. It hasn't always been full time since then, but we've stuck to
at least equity minimum.

Dan Bridgewater, founder and managing director, Fourth Wall Theatre Network
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Think about becoming a social enterprise: Because my company is a social enterprise, a lot of the funding has been to support this as
opposed to supporting the theatre we create. Organisations such as Live UnLtd, UnLtd and the Community Development Foundation all
provide funding to organisations that help create social change, or raise awareness of social issues. There's a lot of trusts all over the UK
that do something similar.
Create strong partnerships: Partnerships need to be about solving a problem instead of making one. Make it easy for a potential partner
what do you want and what are they going to get? They need to see a clear personal benet.
Don't necessarily give up the day job: Financially, I think you need to do what you can and what's best for you. I've realised that my
company isn't going to be my full-time source of income at this moment in time, so I do a number of other projects on the side. However,
in the long-term, I really feel that it can be. Organisations like Arts Council England allow funding to cover project management fees if
you have something that is good enough then you can be funded to run that project.
Don't just focus on the theatre: What else do you oer? A place for people to socialise; a vehicle for change; a voice for young people?
Communicate these objectives within your marketing, and take advantage of them when looking for funding.
Understand your market: Ask yourself the following questions: how much are your competitors charging; what kind of thing are they
doing; what are their customers responding to? We originally charged 3 for two hours, whereas our closest competitors were charging at
least 5 for one hour!
Have fun doing it: It goes without saying really. Don't let things get to you too much build a good support team around you and give them
responsibilities, and don't take on all the stress and the strain. When it stops being fun, you need to evaluate where you're at.
Find space on the cheap (or for free): If you need rehearsal space, but funds are low, oer to hold a performance in that rehearsal space or
venue and let them get a share of the takings. You can also nd venues that need an image boost say you'll get people into their venue, as
well as some press coverage or some promotion through your marketing campaigns, in exchange for lower cost or free venue hire. Finally,
rehearse in random places: the park, your front room, a coee shop.

Phil Willmott, artistic director, the Steam Industry

Understand that it's going to be extremely tough: If you start a theatre company in the hope of making a living or showcasing your work
with a view to being spotted, you'll almost certainly end up bitter and disappointed. Sorry about that. But don't be cross it's not your
fault, nor mine, nor the Arts Council's, nor the culture of fringe theatre, nor the state of the nation. It's simply that you're choosing to enter
a farcically overcrowded profession it's just the way it is.
If you can take that on board at the beginning, it will save you a lot of disappointment when you discover that no one will initially give you
money or come and see your stu.
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Stand out, and then stand out some more: As with trying to break into any saturated market you HAVE to have a USP (unique selling point)
ideally a VUSP (very unique selling point) to make any impact. What's so dierent about you that audiences, critics, funders, sponsors
and programmers will take notice of you rather then the millions of other people who want to direct Woyzek or get some agents in to see
them in Miss Julie? Work out what's so special about you and og it. FLOG IT TO DEATH! Spinning it right is your best ticket to breaking
through.

Jackie Elliman, legal and industrial relations manager

Independent Theatre Council
Your brand is crucial: I think we're all been in agreement here that artistic vision is the single most important thing you need if you want to
have a performing arts company. Your brand logos, name and so on are how you convey that vision, and that matters. It should enable
not just audiences but venues, funders, potential partners and others to understand what you're about.
Don't ignore the paperwork: Don't hope that the admin will go away if you ignore it won't. Take care of the management and your art will
have strong foundations.

Leo Burtin, project manager, Lancaster Emerging Arts Platform

Think before you leap: Setting up a company when you are too insecure or unsure as to what you really want to be doing is often likely to
lead to diculties (not the productive kind). Knowing where your skills are is quite important and setting up a company takes a lot of
administration and management if that's not your forte, learn how to do it before setting up.
Mistakes to avoid: Lack of leadership or denition of roles; lack of regularity; not considering who your audience might be; putting
projects to bed after a single showing at a platform; being scared to apply for funding.
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