opportunity: Regional Theatre Young Director’s Scheme

The Regional Theatre Young Director’s Scheme (RTYDS) is the UK’s longest running training scheme for young theatre directors. The scheme provides exceptional professional training for the directors and artistic directors of the future. It aims to bring together the most exciting emerging directors and the UK’s leading regional theatre companies.

Applications are now open for the RTYDS’s 18-Month Residency for individual emerging directors.

This paid residency (£19,000 gross per annum) is for talented emerging directors who have no less than 18 months professional experience and clear commitment to a career as a director. This residency is highly competitive and we can give the opportunity to no more than four emerging directors in 2014.

The application form for directors is now online and the deadline to apply is noon Monday 4th August.

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staging the impossible

Analogue are an associate company of Farnham Maltings. They are currently working on a new show called Stowaway. In this blog, Co-artistic director Hannah Barker, talks about their relationship with the Maltings and the research and development of Stowaway.

Analogue - Stowaway
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greenhouse

greenhouse is a three year initiative supported by Esmée Fairbairn Foundation aimed at helping contemporary theatre thrive across the South East and East of England by better connecting the ambitions of theatre makers, venues and audiences.  Here greenhouse project manager, Richard Kingdom, talks about some of the thinking behind the scheme and the first round of supported projects.

At house’s first venue network meeting, Jo Taylor of Morris Hargreaves McIntyre gave a talk in which she lamented the once-popular practice of ‘cleaning up’ marketing databases – the idea that by deleting everyone but the art-loving regular-bookers you’d have such a red hot mailing list that one e-bulletin or mail drop would more or less fill your season.  The reality, she suggested, was that you were in fact reducing your audience base and withdrawing contact from your biggest potential audience; those who had booked to see something but – for some reason – had not come back.  Rather than delete them, call them up and find out why suggested Jo.

As I looked around the room, it struck me that something similar has been going on with the small-mid scale touring circuit.  I’d been a Theatre Relationship Manager for Arts Council England for a couple of years, focused on the South East, and here was a room full of programmers from the region and I only knew about a third of them.  As funding has been increasingly directed towards producing rather than presenting, the venues actively engaged in programming contemporary theatre have been whittled down to the venue-equivalents of the ‘art-loving regular-bookers’.  I was excited – and still am – by house’s efforts to buck this trend, not just because of its potential to re-build that touring circuit, but also because of the impact it might have on what theatre is being made.
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